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- The Avenging Conscience or “Thou Shalt Not Kill” (1914) Director: D.W. Griffith. Preserved by the BFI National Archive. D.W. Griffith’s silent film isn’t coy about its inspirations – its protagonist (Henry B. Walthall) finds a reflection of his besotted feelings for a young woman (Blanche Sweet) in Poe’s poem ‘Annabel Lee’ and later, denied his uncle’s (Spottiswoode Aitken) permission to marry her, draws murderous inspiration from Poe’s short story ‘The Tell-Tale Heart’.
- The Fall of the House of Usher (1928) Director: Jean Epstein. The stark black-and-white photography of this French film, based on Poe’s short story, emphasises the ghostliness of the desolate mansion in which it’s set, a contrast to the ornate richness of Roger Corman’s version released 32 years later.
- The Tell-Tale Heart (1953) Director: Ted Parmelee. This animated story of nighttime murder, carried out under the cover of darkness, is dominated by inky shadows and creeping silhouettes.
- Pit and the Pendulum (1961) Director: Roger Corman. Director Roger Corman reworks Poe’s tale of solitary confinement under the Spanish Inquisition into a riff on ‘The Fall of the House of Usher’, folding in much of its mood and many of its themes – mysterious illnesses, family homes with a malignant atmosphere, hereditary pain, women buried alive.
Warner Bros. TV, Lin Pictures, and ABC were developing a pilot TV show called Poe, a crime procedural following Edgar Allan Poe (played by Chris Egan), the world's very first detective, as he uses unconventional methods to investigate dark mysteries in 1840s Boston. Poe's girlfriend and muse Sarah is played by Tabrett Bethell. The pilot was ...
the filmic legacy Poe and his stories share across a survey of significant filmmakers, who have created memorable interpretations of Poe’s works. This thesis seeks to consider connections between several well-known Poe film adaptations and what I consider to be their significance in the development of film as a medium over its history.
Apr 1, 2017 · As part of this recent critical focus on Poe's reception, Adapting Poe: Re-Imaginings in Popular Culture (2012), edited by Dennis R. Perry and Carl H. Sederholm, adds to our understanding of Poe's far-reaching impact, while demonstrating the value of approaching his work from the intertextual perspective of adaptation studies.
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In Poe’s short story, a first-person narrator guides the exploration of space and takes the reader to learn about the dimensions and characteristics of Prospero’s castle, as evidence of the eccentricity of the prince: “It was a voluptuous scene, that masquerade. But first let me tell of the rooms in which it was held. These were seven—an imperial s...
In Poe’s tale, the handling of tenses is subordinate to the very conception of the events in the story. In this regard it should be noted that there is a mismatch in the prototypical sequences of the story. The beginning of the story is told in the past (“was happy”) and pluperfect (“had long devastated the country”), and the description of the pri...
The anonymous characters, that is, the party guests, are described in Poe’s tale as grotesque, but they all act as mere “background” of the story; they never acquire the role of actors, as is seen in the case of certain objects. Even so, there is a metonymic relationship between human beings and their dream activity; dreams come to life in the room...
Jan 6, 2023 · Now, a new film about the poet is looking to change that. The Pale Blue Eye - based on the book of the same name - explores the period of Poe's life when he found himself at the US Military Academy.
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Filmmaker Roger Corman discusses some of the challenges he faced in bringing Edgar Allan Poe’s stories to life in a full-length film.
