Propaganda Magazine

28/11/2025

01/11/2025

HORROR MOVIE MIX: GOTHIC DARK ENTRIES

In observance of this haunted season, Propaganda Magazine publisher Fred Berger and documentary filmmaker Bryan Davis have co-produced the video series “Gothic Dark Entries.” Part 1 debuted on Halloween and Part 2 on the Day of the Dead, with the former presenting Berger and Davis’s Top-5 horror-themed songs of the goth and postpunk genres, and the latter their Top-5 horror movies. Berger’s film selections are from the 1930s to ‘60s, with Davis’s being of a more recent vintage. So, if binge watching horror flicks at this time of year is your cup of tea, you may find their choices helpful to your playlist.

PHOTO CAPTION: Selected for “Gothic Dark Entries, Day of the Dead Edition.” Barbara Steele stars in the 1965 Italian gothic horror film “Terror Creatures From the Grave.” She is at the height of her ghastly powers in this macabre tale of infidelity, murder, and revenge from beyond the tomb.

The link to “Gothic Dark Entries, Day of the Dead Edition” is posted in the comments section of this article.

The announcement and weblink for “Gothic Dark Entries, Halloween Edition” was posted on this page yesterday.

31/10/2025

A SPECIAL HALLOWEEN TREAT: GOTHIC DARK ENTRIES

To mark goth’s most celebrated holiday, Propaganda publisher Fred Berger and documentary filmmaker Bryan Davis have co-produced “Gothic Dark Entries, the Halloween Edition.” Part 1 of this 2-part series features each of their Top-5 selections of songs that best capture the essence of this delightfully frightful festival. Each dark entry has a brief narration about the piece as well as an iconic photo of the performers. Several of these images were shot by Berger and appeared in Propaganda Magazine during the gothic heyday of the 1980s and ‘90s. So, get comfortable and prepare to immerse yourselves in the horror and the glamour of it all.

PHOTO CAPTION: Selected for “Gothic Dark Entries, the Halloween Edition” Part 1. L.A. goth group London After Midnight performs at Hollywood’s legendary Helter Skelter club in 1990. Vocalist Sean Brennan and bass player John Koviak wow the crowd in all their gothic splendor. (Photo & Copyright © by Fred Berger)

The link to “Gothic Dark Entries, the Halloween Edition” Part 1 is posted in the comments section of this article.

The promotion and weblink for “Gothic Dark Entries” Part 2 will be posted on this page later today. The format will be the same as Part 1, but it will feature Berger and Davis’ Top-5 choices of horror films.

20/04/2025

FROM THE PRINCE OF PEACE TO THE PRINCE OF DARKNESS:
THE BELA LUGOSI SAGA

Written by Fred Berger

Although Bela Lugosi is world-famous for his iconic role as the legendary vampire Count Dracula, at times referred to as ‘The Prince of Darkness,' it is little known that he also portrayed Jesus Christ, the biblically prophesied ‘Prince of Peace.’ He came to prominence in the theater in his native Hungary in large part due to his starring role in the Easter production of The Passion Play in 1909, the first of several such performances over the next five years. Standing at a height of 6 ft. 1 in. (1.86 meters) and with an athletic build, he was a striking figure indeed in the part of the martyred Messiah. But due to the outbreak of World War 1, in which the Austro-Hungarian Empire was allied with Imperial Germany, his acting career was interrupted in 1914 when he enlisted in the army. Serving for two years on the Russian Front in the Royal 43rd Infantry Regiment, he attained the rank of lieutenant and was wounded three times, for which he was decorated with the Military Merit Cross and Wound Medal. As a result of his injuries he became addicted to morphine, a condition that would plague him for the rest of his life. After being discharged from the army he resumed acting, making the transition from the stage to silent film. With his country’s defeat in 1918, the royal House of Habsburg was overthrown in a communist takeover, resulting in the rise of the short-lived Hungarian Soviet Republic. Lugosi’s participation in the revolution as a socialist actors’ union organizer made him a marked man when nationalist forces rallied and overthrew the Marxist-Leninist regime in 1919. Fleeing to Germany to escape the anti-communist reprisals that followed, he continued to work on stage and in film until emigrating to America, arriving in New York City in 1921.

Once again, the charismatic and ambitious Old World thespian immersed himself in his career, making a name for himself in the city’s theatrical and cinematic circles. His big break came in 1927 when he was cast in the role of Count Dracula for the Broadway production of Dracula: The Vampire Play, adapted from Bram Stoker’s novel. With 261 performances over an 8-month period, the critically acclaimed play was a smashing success, and was followed by a nationwide tour ending in 1929, at which time Lugosi relocated to Los Angeles. Tall and elegant, with piercing blue eyes and nearly jet-black hair, and a sophisticated Hungarian accent, it’s been said that he was born to play Dracula. And indeed he was, leading inevitably to the title role in Universal Pictures’ 1931 production of Dracula, a sound film that was a box office hit and critics’ favorite. This prompted numerous sequels and spin-offs, three of which reprised his role as the villainous bloodsucker – 1935’s Mark of the Vampire, 1944’s The Return of the Vampire, and 1948’s Abbott and Costello Meet Frankenstein. But only the latter of these pictures featured Lugosi as the actual Dracula character, the other two being derivatives of that uniquely iconic monster. Among the countless movies inspired by the 1931 original, Hammer Films’ 1966 release Dracula: Prince of Darkness starring Christopher Lee, forever enshrined that fiendish moniker in the cultural zeitgeist. Although it is fitting to recall that over two millennia ago during Passover, rather than drinking the blood of hapless mortals to sustain his own diabolical existence, the foretold Prince of Peace would selflessly shed his own blood for the sake of all mankind.

Isaiah 9:6, KJV:
“For unto us a child is born, unto us a son is given; and the government will be upon his shoulder. And his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, and The Prince of Peace.”

LEFT PHOTO: Bela Lugosi playing the part of Jesus in the stage production The Passion Play in Hungary in 1909. He was 27 years old at the time and performed in several of these religious dramas before enlisting in the Austro-Hungarian army to fight in the Great War in 1914.

RIGHT PHOTO: A publicity photo from Universal Pictures’ 1931 production of Dracula, starring Bela Lugosi in the title role. This milestone in horror cinema made him world famous and spawned three more films in which he portrayed a vampire.

01/01/2025

NOSFERATU: PLAGUE & MALAISE FOR THE HOLIDAYS

Film Analysis by Fred Berger

The second remake of F.W. Murnau’s classic 1922 vampire film Nosferatu opened in the United States on this past 25th of December – a day widely marked by festive family gatherings and religious observances. Never has the Nativity of Christ been celebrated concurrently with the release of a movie so black and utterly profane, that one has to wonder if the producers’ intention was to blaspheme this sacred and joyous occasion. The spell cast by its captivating advertising campaign was powerful indeed, with the studio’s expectations for ticket sales nearly doubling over the long holiday weekend from $25 to $42 million. Moreover, it received broad critical acclaim that lauded Robert Eggers’ superb direction, the film’s exquisite production values, and the cast’s gripping performances.

Whereas Murnau’s original Nosferatu was startlingly German expressionist and Werner Herzog’s 1979 version was broodingly Wagnerian, Eggers’ interpretation is luridly Satanic. There is a distinct difference between a Count Orlok who merely follows his predatory proclivities, as first portrayed by Max Schreck and subsequently Klaus Kinski, and one who signs a pact with the Devil and practices the black arts, as portrayed by Bill Skarsgard in the current variant. The occult rituals and symbolism are a substantial departure, not only from the classic Nosferatu, but also from the principal source of its inspiration – Bram Stoker’s Dracula. The grotesque ugliness of this monstrous being also exceeds that of his predecessors, which can be viewed as an external manifestation of his spiritual disfigurement. And the fact that he speaks in a dead language from Romanian antiquity with a voice as deep as the pits of Hell, makes him all the more mysterious and terrifying. However, despite his immense supernatural powers, he is still vulnerable to the charms of the woman he desires, whom he marked as a young girl by psychic means.

Playing the role of Ellen Hutter, the vampire’s love interest, is Lily-Rose Depp, daughter of Johnny Depp. Her simple unaffected beauty evokes the purity and innocence that Orlok seeks to corrupt, and corrupt it he does. At times, her torment has some of the attributes of demonic possession, such as somnambulism and violent seizures, which did not afflict the heroine of the 1922 and 1979 renditions. The climax of the film is literally a climax of the sexual kind with a graphic scene of blood-drenched copulation, which is as much a departure from its two cinematic antecedents as its diabolical occult elements. The Count’s all-consuming passion is on full display in all its horrific carnality as Ellen uses it to hold her demon lover in thrall until the break of dawn. As the first rays of sunlight reduce him to a withered husk, she is bled white until their naked corpses lie entwined on bedsheets soaked with crimson gore. She knew it was the only way to end his reign of terror, as she was advised to do by the sagacious occult expert Prof. Eberhart von Franz, played by Willem Dafoe. As the sole source of spiritual discernment in this harrowing tale, he entreats the power of Jehovah and utilizes his esoteric knowledge to finally defeat this ravenous hellspawn. But his victory is a Pyrrhic one, with countless corpses littering the streets and most of the story’s protagonists meeting their demise due to attacks by the vampire or infection by the plague that follows in his wake.

In the end, the town of Wisborg, Germany is left to mourn its losses and ponder the true meaning of the phrase, “God’s will be done.” The malediction and malaise which bedeviled that misfortunate 19th century community could easily befall our own contemporary society, which is more irreligious than any previous period of the Christian era. Perhaps a good place to start on the road to redemption might be to keep Christmas well, and not blacken it with the likes of a silver screen Nosfertu at nearly 3,000 movie theaters across the country. Though I shouldn’t be one to preach, for I too heeded the seductive call of darkness and immersed myself in the film’s aesthetic splendor of somber medieval castles, sumptuous period fashions, haunting cinematography, and dense gothic atmosphere. I just did not anticipate the Satanic rites and gruesome sexuality that have rendered the 1922 and 1979 productions pale in comparison. Even so, Heaven help me, I’d see it again - that’s how easily I’m swayed by the sheer artistry of Eggers’ sublime cinematic vision. In the meantime, I’ll leave the monster-hunting to professionals.

“Thus, we are ministers of God’s own wish, that the world, and men for whom His Son died, will not be given over to monsters, whose very existence would defame Him.”

– The words of Van Helsing from Bram Stoker’s 1897 novel Dracula

TOP PHOTO: A vampire hunt organized by Prof. von Franz (Willem Dafoe) races against time to prevent Count Orlok from laying final claim to the lovely Ellen. The film was shot on location in the Czech Republic and Romania to depict an authentic early 1800s European setting. (Photo credit, Focus Features)

BOTTOM PHOTO: Nosferatu’s object of desire, Ellen Hutter (Lily-Rose Depp). Her elegant Victorian era ensembles are a highlight of the movie. And the sincerity and urgency of a woman engaged in a life-and-death struggle against supernatural evil is poignantly conveyed by her brilliant portrayal. (Photo credit, Focus Features)

31/10/2024

ON THE DAY OF THE DEAD – THE DARK ART OF LAAGRES BELLATOR

Introduction & Interview Questions by Fred Berger

Those infernal nightmares, fantastical descents into the exquisite horrors of my unconscious mind, are sometimes a glimpse into a reality not yet perceived. Recently, one such episode involved a mass possession of the entire human race, where each individual was being pursued by their own personal demon. Even though I could not actually see these dark entities, their presence was revealed in the panicked flight and evasive actions of pedestrians and motorists in a scene of utter pandemonium. Apparently, each particular spirit was visible only to the person it was following, while the others remained hidden under the cloak of invisibility. Then, it was my turn to be stalked, as my own devilish assassin strode towards me – a muscular reddish-brown brute with black holes for eyes. I instantly joined the stampede of frightened humanity, my heart pounding as the fiend trailed close behind, until I cried out in abject desperation, “Jesus save me!” In that moment I awoke, still trembling but profoundly relieved that it had only been a phantasm of the psyche.

To re-establish my connection with the mundane, I turned on the computer and checked my page, and lo and behold what do I see – an illustration of a diabolical being fearfully evocative of the one I had dreamed, posted by Laagres Bellator, a gifted young artist I had befriended a couple of years ago. Entitled “Las Tentaciones de San Antonio” (The Temptation of Saint Antonio), it not only captures the visual essence of this monstrosity, but there is also the theological overtone of the tormented saint. With such a compelling impetus to spur me to action, I asked Laagres for an interview and discovered that there is much more than meets the eye with respect to this rising Mexican surrealist. The intellect underpinning the artwork is truly scholarly and sublime - even transcendent.

THE TRIPTYCH
Left image: “Las Tentaciones de San Antonio” (The Temptation of Saint Antonio). Ink on cardboard, 8.47 x 11.14 in. (21.5 x 28.3 cm).
Center image: The featured artist, Laagres Bellator
Right image: "Peeping Tom II.” Ink on cardboard, 8.47 x 11.14 in. (21.5 x 28.3 cm).

THE INTERVIEW
(Note: Laagres’ English is not only fluent, but masterful.)

FB: Most of your work has a melancholy or macabre quality. What inspires your dark artistic vision?
LB: My work synthesizes my interests, personal experiences, and concerns. I am particularly drawn to topics that, in my view, hold significant relevance for contemporary society, such as the pervasive exposure to violence, hyper-communication, collective narcissism, and the effects of consumerism on both the physical and mental well-being of individuals.

FB: What artists do you admire and have influenced your work?
LB: Visually, I am particularly drawn to the works of Edvard Munch, Francis Bacon, and Doménikos Theotokópoulos (El Greco). However, much of my own art is profoundly influenced by Pop Art. Additionally, literature, philosophy, and music serve as significant sources of inspiration for many of my pieces. While it is challenging to pinpoint specific figures from each of these disciplines, notable recurring influences include Mary Shelley and Giacomo Leopardi.

FB: Where have your works been exhibited?
LB: My first exhibition occurred at the Palacio de Bellas Artes (Palace of Fine Arts) when I was just 18 years old. Located in Mexico City, it is one of Mexico’s foremost cultural institutions and home to a significant collection of murals by renowned national artists, including Diego Rivera (the husband of Frida Kahlo), David Alfaro Siqueiros, and José Clemente Orozco. Recently, my work has appeared at two other venues in Mexico City – Galería Babel and Galería Ex Fábrica. These collective exhibitions presented various artists and themes.

FB: What other creative pursuits are you involved in?
LB: In addition to my artistic endeavors, I have dedicated myself to writing, an area in which I have received an award for poetry, conferred by the publishing house Lectio. This recognition not only emphasizes my passion for the written word, but also underscores the profound significance that art, in all its forms, holds for me.

FB: What is your educational background and what was your focus of study?
LB: I began studying visual arts in a workshop and continued learning in a specialized high school of the arts, the Spota Saavedra Center for Artistic Education. Last year, I earned a BA in Modern Italian Language and Literature at the National Autonomous University of Mexico, a leading university in my country. This interdisciplinary foundation allows me to intertwine my artistic sensibilities with a deep understanding of literary themes and historical contexts. My engagement with literature enriches my creative practice, fostering a unique perspective that informs my artistic expressions.

FB: How would you describe your career?
LB: I have devoted myself to the free creation of artistic works, as I believe it is essential to maintain authenticity and honor one’s own ideas and convictions. This commitment to genuine expression allows me to explore the depths of my creativity without compromise. In addition to my artistic pursuits, I have also engaged in other disciplines that reflect my passion for literature, particularly translation. This practice not only deepens my appreciation for the written word but also enables me to bridge cultural divides, bringing diverse voices to a broader audience.

FB: You are quite androgynous. How has the issue of gender influenced you and your work?
LB: The influence of gender roles and archetypes on how individuals behave and present themselves, along with the specific challenges they face depending on their assigned or assumed gender, is a recurring theme in my work. I particularly emphasize how violence affects men and women differently, a theme I explored in the “Peeping Tom” series.

FB: Being Mexican, what significance does the Day of the Dead have for you? Do you celebrate it? If so, how and why?
LB: In Mexico, the celebration of the Day of the Dead ("Día de Mu***os") varies by region. The most common practice involves visiting cemeteries to place small offerings (food, flowers, candles, and other items) on graves, or creating altars known as "ofrendas," typically dedicated to deceased family members. These altars contain specific elements that reflect both Indigenous and European influences. For me, this tradition is a vivid reminder of how deeply intertwined national history is with individual identity. The making of altars is a practice I engage in every year during this time.

LAAGRES BELLATOR’S FACEBOOK PAGE:
https://www.facebook.com/234579101181azzgh