Horror classics and obscurities through the ages, in chronological order: Witchcraft, satanic panic, vampires, cults, mad scientists, werewolves, black-gloved killers, possession, haunted houses, voodoo, zombies, ghost stories, dark sci-fi, new age, ancient curses and other mumbo jumbo...

Georges Méliès in Une nuit terrible (1896)

Jürgen Ohlsen in Our Flags Lead Us Forward (1933)

Anthony Zerbe and Lola Falana in The Liberation of L.B. Jones (1970)

Between 1933-45, UFA was not the only German producer, but was in control of the distribution. Because that circumstance, we have included films from other German producers, made at the same period.

Extra: Orient yourself! http://en.wikipedia.org/wiki/List_of_German_films_of_1933%E2%80%9345 .

We noticed the need to create a  page Four. On this last page, alongside art films, there are films with controversial ideological content

RELATED LISTS German Film: Early classics  http://www.imdb.com/list/ls077112994/ 15 Movies of Karl Valentin https://www.imdb.com/list/ls000357224/ German Films after 1945 https://www.imdb.com/list/ls068939014/

Films produced while the WW2 and released after its end are not present in the list. Quax in Afrika (1947) or Das dumme Gänslein (1945? ) are good examples.

Movies not available are now retired to the list: 	 Der Fall Molander(1945) Tierparadies Südamerika (1940)  Tischlein deck Dich, Esel streck Dich, Knüppel aus dem Sack (1938) Die Nacht der Entscheidung(1938)

Gothic fiction, emerging in the 18th and 19th centuries, is defined by a fearful atmosphere, supernatural threats, and the past haunting the present. The narrative is often discontinuous and convoluted, with notable settings including decaying structures such as castles, monasteries, and crypts, encapsulating an eerie atmosphere. Gothic fiction employs metaphorical horror to represent psychological or social conflicts, frequently using themes of imprisonment, murder, demonic possession, and vengeful persecution.

This genre's interplay with architecture, specifically Gothic Revival architecture, forms a distinct association, enhancing the sense of dark, fantastic, and superstitious rituals. Settings within Gothic structures inspire awe, imply an antiquated timeline, and reflect religious associations. These settings often mirror the characters' circumstances and the events within the narrative.

A significant sub-genre of Gothic fiction is the "Female Gothic." It explores women's societal and sexual desires through narratives featuring persecuted heroines who often flee villainous patriarchal figures. Female Gothic authors use the genre to critique male power, violence, and predatory sexuality, focusing on societal horrors such as rape, incest, and male control. These narratives also address women's dissatisfaction with their societal roles, exploring fears of entrapment in marriage, childbirth, and domestic abuse. Over time, readers and characters alike grow to understand that the true terror lies not in the supernatural but in the inherent trials of being female within a patriarchal society.

The Best Gothic Horror & Gothic Romance Films

Nastassja Kinski, Harry Dean Stanton, and Hunter Carson in Paris, Texas (1984)

Paolo Bonacelli in Salò, or the 120 Days of Sodom (1975)

Gary Cooper and Marlene Dietrich in Morocco (1930)

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