[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-515212-105":59,"doc-detail-515212-en":130},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":123,"head_meta":125,"extra_data":127,"updated_unix":129},105,"en","vampires-an-uneasy-essay-on-the-undead-in-film-revised-and-expanded-edition","(Vampires) - An Uneasy Essay on the Undead in Film - Revised and expanded edition","","(Vampires): An Uneasy Essay on the Undead in Film presents a revised and expanded edition of Jalal Toufic’s inquiry into cinematic undead. The work includes bibliographical references and a publication history noting the first edition (1993) and permissions for the second edition. Front matter provides acknowledgments, conceptual poster references connected to cinema and installation projects, and a concluding epigraph from H. P. Lovecraft, followed by a detailed table of contents spanning posthumous introduction, thresholds, motion, gaps, telepathy, montage, and ruins.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/vampires-an-uneasy-essay-on-the-undead-in-film-revised-and-expanded-edition/515212/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/vampires-an-uneasy-essay-on-the-undead-in-film-revised-and-expanded-edition/515212.png","ImageObject",300,407,{"name":92,"@type":93},"iuabcfuw","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-21","2026-10-06",true,{"@type":102,"interactionType":103,"userInteractionCount":24},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What edition does this book provide and how is it positioned in the publication history?","Question",{"text":112,"@type":113},"The front matter states that this is a revised and expanded edition, and it records that the first edition was published in 1993 with publication permissions for the second edition.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"What does the book’s structure cover according to the table of contents?",{"text":117,"@type":113},"The contents list sections ranging from a posthumous introduction and conceptual thresholds to topics like quantum tunneling, gaps and lapses, telepathy, parallel montage, and ruins, ending with “Arriving Too Late for Resurrect.”",{"name":119,"@type":110,"acceptedAnswer":120},"What role do acknowledgments play in the early pages?",{"text":121,"@type":113},"The acknowledgments connect the author’s conceptual posters and installations to specific venues and publications, and they also note permission for using and scanning photographs in collected works.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},515212,1791539392,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":24,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},3985747874027,"https://ap-avatar.wpscdn.com/davatar_9964176cb1d06d4a9deccf72a44ae3dc","Also by Jalal Toufic  \nUndying Love, or Love Dies (Post-Apollo, 2002) Forthcoming (Atelos, 2000)  \nOver-Sensitiviyt (Sun & Moon, 1996)  \nDistracted (Station Hill, 1991; 2nd ed., Tuumba, 2003)  \n(Vampires)  \nAn Uneasy Essay on the Undead in Film  \nRevised and expanded edition  \nJalal Toufic  \nThe Post-Apollo Press  \nLibrary of Congress Cataloging-in-Publication Data  \nToufic, Jalal.  \n(Vampires): An Uneasy Essay on the Undead in Film / Jalal Toufic.  \n[p. cm](p. cm).  \nIncludes bibliographical references.  \nISBN 0-942996-50-X  \nThe first edition of (Vampires): An Uneasy Essay on the Undead in Film was published in 1993 by Station Hill Press under the imprint “Station Hill Literary Editions” in collaboration with The Institute for Publishing Arts, Inc. in Barrytown, New York, and is published here in a revised edition with permission.  \nCopyright © 1993, 2003 by Jalal Toufic All rights reserved  \nThe Post-Apollo Press  \n35 Marie Street  \nSausalito, California 94965  \nDesign: Ali Cherry and Hatem Imam Printed in the United States of America on acid-free paper.  \nIn memory of the amnesiac Jalal Toufic (not that he no longer exists, but that he was/is dead/undead then/now)  \nAcknowledgments  \nMy conceptual poster for Robert Bresson’s Au hazard Balthazar was exhibited in the window panel at the entrance of cinema Hamra, oneof the three deserted cinemas that were the setting for the “Hamra Street Project,” November 17–27, 2000; and it was published in Al-A-da-b (January and February 2001): 51, and then online at [http://www.mafhoum.com/press/adab56/adab.htm. The](http://www.mafhoum.com/press/adab56/adab.htm. The) two letters on pages 82–85 were part of my installation Overlooking the Unsightyl to See, and were published in the project’s catalogue, Hamra Street Project (Beirut, Lebanon: the Lebanese Association for Plastic Arts Ashkal Alwan, 2000) . My conceptual poster for Harold Ramis’ film Groundhog Day appeared in Transit Visa: On Video and Cities, ed. Akram Zaatari and Mahmoud Hojeij (Beirut, 2001), 8. Two Posthumous Resumes was exhibited in the show“Exist,” Espace SD, Beirut, November 25–December 2, 2000. An Arabic translation (by Fa-dı-al-‘Abdalla-h) of the section “Ruins” was published as“Al-Atla-l” in Al-A-da-b ’s Audio-Visual/-Theoretical Supplement (July–August 2001): 108–111.“Ruins” as well as Two Posthumous Resumes were published in Tamáss: Contemporary Arab Representations, Beirut, Lebanon 1 (Barcelona: Fundació Antoni Tàpies, 2002), 19–25 and 118–121 respectively. An Arabic translation (by Fa-d al-‘Abdalla-h) of the section “IAm the Maryt r Sana- ’ Ysif Muhaydlı-” was published as “Ana- as-shahı-da Sana- ’Ysif Muhaydlı-” in Al-A-da-b (January–February 2001): 44–51. This second edition of (Vampires) was already finished by the time I provided these sections to various publications. I also acknowledge the Gibran Museum, Bsharr, Lebanon, for the 1923 Kahlil Gibran watercolor, and L’Harmattan for the photograph by Dmitri Baltermants that appears on page 266; and I would like to thank the Arab Image Foundation (AIF) forgiving permission to use and for scanning a number of the photographs in their collection. Most importantly, I wish to thank George Quasha, the publisher of the first edition of (Vampires), for gracefully agreeing to the publication of its second edition by the Post-Apollo Press.  \nThe most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistasof reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.  \nH. P. Lovecraft, The Call of Cthulhu  \nContent","cbCaigsxb4fNI6x6","https://ap.wps.com/l/cbCaigsxb4fNI6x6","pdf",46644249,191,"English","# Contents\n## Posthumous Introduction to the First Edition\n## Who Will Warn Us About the Warning?\n## False Thresholds and Imaginary Lines\n## Fascinated Motionlessness and Quantum Tunneling\n## Gaps\n## Lapses\n## Memorable Accidents\n## Sensitivity to Initial/Final Conditions\n## Through the Unreflective Glass\n## What Does Not Resemble Me Looks Exactly Like Me/What Looks Exactly Like Me Does Not Resemble Me\n## Breathless\n## The Undead Has No Mirror Image\n## The Indefinite Poetry of Death\n## The Dance of Death\n## Here Lies and the Worldless\n## The Undead, Who Is Not All There, and the Mad, Who Died Before Dying\n## Matte\n## The Right of Return\n## Presence\n## The Absence of Ether, the Vacillation of Dimensions, and Excessive Presence\n## Varying Spectra\n## Telepathy\n## Parallel Montage\n## Bad Reception\n## Coincidences (?)\n## Absence of Sitting (Except while Sleeping) Close-Up\n## Ruins Undone Circles Labyrinth\n## Transit Visa to the Labyrinth!\n## Letters Counterfeiting Secrets\n## Are You Sure I Saw It?\n## The Emperor’s New Costume, Or the Case of the Missing Mask\n## Unsound Silence Frozen Still\n## Backward in Time Movement The Atavism of Mystery Counterfeiting\n## Coexistence of Tenses\n## Why Make Another Version of Nosferatu? Of Men and Mice\n## Pain\n## Reference Letter from the Hidden Observer Out-of-Sync\n## I Am Shattered!\n## The Off-Screen and/or the Set On-Screen Extras\n## Vertiginous Eyes The Mourner and the (Un)dead Mortal Guilt\n## Diegetic Voice-over/Image-over IAm the Maryt r Sana- ’ Ysif Muhaydlı\n## Composites\n## The Surgeon and the Dismembered Apprentice Magician Subtle Necrophilia\n## Gutless Death Acting\n## In the You Mode Over-Turns\n## Kneeling Angel with Mountainous Wings (aka Toward a Title for a Gibran Watercolor Left Untitled)\n## Arriving Too Late for Resurrect","[{\"question\":\"What edition does this book provide and how is it positioned in the publication history?\",\"answer\":\"The front matter states that this is a revised and expanded edition, and it records that the first edition was published in 1993 with publication permissions for the second edition.\"},{\"question\":\"What does the book’s structure cover according to the table of contents?\",\"answer\":\"The contents list sections ranging from a posthumous introduction and conceptual thresholds to topics like quantum tunneling, gaps and lapses, telepathy, parallel montage, and ruins, ending with “Arriving Too Late for Resurrect.”\"},{\"question\":\"What role do acknowledgments play in the early pages?\",\"answer\":\"The acknowledgments connect the author’s conceptual posters and installations to specific venues and publications, and they also note permission for using and scanning photographs in collected works.\"}]","(Vampires) - An Uneasy Essay on the Undead in Film - Revised and expanded edition | PDF",1791309530,294]