#the fall of the house of usher

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Boy, the Cask Of Amontillado sure is Ushering in a new age of memes and making some other ones Fall out of style…

mysticalway:La chute de la maison Usher, 1928.

mysticalway:

La chute de la maison Usher, 1928.


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ozu-teapot:The Fall of the House of Usher | Jean Epstein | 1928Marguerite Gance

ozu-teapot:

The Fall of the House of Usher | Jean Epstein | 1928

Marguerite Gance


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The Fall of the House of Usher (1960)

Director - Roger Corman, Cinematography - Floyd Crosby

“One candle left to burn now, before the darkness comes.”

The Fall of the House of Usher, 1928, James Sibley Watson, Melville WebberThe Fall of the House of Usher, 1928, James Sibley Watson, Melville Webber

The Fall of the House of Usher, 1928, James Sibley Watson, Melville Webber


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The Fall of the House of Usher, 1928, James Sibley Watson, Melville Webber

The Fall of the House of Usher, 1928, James Sibley Watson, Melville Webber


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The Fall of the House of Usher, 1928, James Sibley Watson, Melville WebberThe Fall of the House of Usher, 1928, James Sibley Watson, Melville Webber

The Fall of the House of Usher, 1928, James Sibley Watson, Melville Webber


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In the mood for a spooky retelling of The Fall of the House of Usher?

USA Today bestselling author T. Kingfisher’s got a book for you! Keep an eye out for What Moves the Dead, on sale July 2022.

ipoecollection:Vincent Price in “The Fall of The House of Usher”, 1960

ipoecollection:

Vincent Price in “The Fall of The House of Usher”, 1960


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some music related to Edgar Allan Poe’s “The Fall of the House of Usher”

“Weber’s Last Waltz” by Carl Gottlieb Reissiger

His long, improvised dirges will ring forever in my ears. Among other things, I hold painfully in mind a certain singular perversion and amplification of the wild air of the last waltz of Von Weber.

“Usher-Waltz” by Nikita Koshkin

I have just spoken of that morbid condition of the auditory nerve which rendered all music intolerable to the sufferer, with the exception of certain effects of stringed instruments. It was, perhaps, the narrow limits to which he thus confined himself upon the guitar, which gave birth, in great measure, to the fantastic character of his performances. But the fervid facility of his impromptus could not be so accounted for. They must have been, and were, in the notes, as well as in the words of his wild fantasias (for he not unfrequently accompanied himself with rimed verbal improvisations), the result of that intense mental collectedness and concentration to which I have previously alluded as observable only in particular moments of the highest artificial excitement.

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