All language subtitles for The.History.of.Metal.and.Horror.2022.1080p.AMZN.WEB-DL.DD+2.0.H.264-Cinefeel ENGLISH
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Eߣ�B��B��B�B�B��matroskaB��B��S�g ��M�t�M��S��I�fS��M��S��T�kS���M��S��S�kS���M��S��T�gS�����O� I�f�*ױ�B@M��libebml v1.4.4 + libmatroska v1.7.1WA�mkvmerge v75.0.0 ('Goliath') 64-bitD��AW� Da� ��~�@ s���XC*��LY�)�g�=y�T�k���ׁsň�����Ⱥ僁�� �� ��S_TEXT/UTF8"���en-USSn�SDH�D) C�u��͠���� [dramatic music]���C�u������ [dramatic music continues]��
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-Hello and welcome��
^�����
to the history of gardening.
In this video,��cC�u@���䠼��� I will show you how to build
a garden of your own��#������ by using techniques
from thousands of years ago.�� �C�u��v����� Let us begin.��@����� In 10,000 BC...���C�u@��C����� -[military band music playing]
-Attention, Private.��)������ You're about to learn
the history of the US Military,�� ��١Ӂ
the meanest, the baddest,
the most powerful military
the world has ever seen.��C�u��d��� Time to untuck your manhood.��������J Listen up,
you miserable son of a...��JC�u��������� [static on TV]�� ܠ����
� Welcome to the history
of proctology.��'C�u�������� [upbeat music]��O������ [snaps rubber glove]��頗���� [music stops]��C�u����� [tense music]���C�u��$������ [static on TV]���C�u��=Z����� [taps TV]��@C�u��_Z����� [grunts softly]��C�u���ݠ���� [sinister music]���C�u��������� What is the history
of metal and horror?��"�����\ Let's find out.��qC�u���z����� [static]��������K [intense music]���C�u�������� Throughout this film,
we will examine the origins��������� of both heavy metal and horror,��
^C�u��%>����� and how the two ultimately
became intertwined.��H������ Have you ever noticed
how fans of metal,��>C�u��B������ more often than not,�������$ are also fans of horror,
and vice versa.��8C�u��W������ With the help of some friends,��P������ we will dig deep
into these genres��
C�u��kI����� and uncover their roots
and evolution.��d�����
� In order to understand
how this all began,�� �C�u�������� let us step into the darkness�� ������
_ and explore
the history of horror.��LC�u���p����� [static]��@������ All cultures value storytelling.��)�����
� Storytelling is one of our,��EC�u@���(����� our major impulses
as human beings.��������� There are also the dark side,
the tales,��T������ the warnings
that we need to share,���C�u@���&����� the verboten,
"We must not go there."��Ƞ����v Even in the pictographs,�� ������� as far back as we could go,
were horror stories.��
CC�u@��������� As long as
there has been storytelling,�� ܠ͡ǁ
� people have used monsters
to explain things
they don't understand��C�u@����� and to express things they
don't know how to articulate.����ʡā> If the Bible is a base text
for most of European
civilization,���C�u@��$àǡ�� we've wanted the same kind of
mix of, like, horror and gore,��!������ as well as morally
uplifting stuff ever since.��dC�u��@������ The dark side
of we, what we have,��j�ġ��
that's an internal part of us,
started to externalize it.��C�u��Z|����� And characters became
the dark side.��������
n It all stems
from Greek classical tragedy,���C�u��|Ӡ���� and splits off
into Roman melodrama,���C�u���`����� then up through
Medieval morality plays��ՠ����� into Elizabethan
revenge tragedy,��8C�u@���ɠ���� then into Edwardian times
where they write melodramas.����ǡ��R One of the ways in which you can
talk about very real things��
�C�u����ȡ or very controversial things
is to dress them up as monsters.��&������ So, you get
to Frankenstein,1818,���C�u���W����� And in one sense,
it's a very literal story�� Z�����
about a guy
who stitches together���C�u@��
������ another being
out of corpse parts,��
��ӡ́G and runs a huge jolt
of electricity through him,
and creates a monster.���C�u@��.P�͡ǁ The Strange Case
Of Dr. Jekyll and Mr. Hyde
is published in 1886,��i�ǡ��
which is five years after
the Ripper murders
had terrorized�� C�u@��M����� not just London
but the whole world.��
��ȡd Jack the Ripper
is the archetype
of all subsequent slashers.��
�C�u��g����� Name me a slasher movie
that doesn't draw�� ����� � on some aspect of,
of Jack the Ripper.���C�u��}]�١Ӂ And, of course, Bram Stoker
was the theater impresario
who put that on stage.��C�u�������� [Del]
Bram Stoker'sDracula,����� not the first vampire story
by any means.��
C�u@���Q����� You've had things
like Varney the Vampire,�� �� � which was part
of a penny-dreadful story
that came out.���C�u��������� But Bram Stoker broke
really new ground,��c����� uh, by using old tropes.��{C�u���נ���� Film then was the natural place
to take over.��������\ In silent films,
and then in talkies.���C�u���Ƞ���� That structure
of how is the good guy��6C�u@�� ������ gonna defeat the externalization��)������ of what the dark side in him��O������ in a character
has been realized?���C�u�� ڠ���� We can hate that person,��������U who is really ourselves
externalized.��C�u@�� 8����� That's the structure
of melodrama and horror.��
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� So much of it to me is
the art direction, and that's
what those films were.��6C�u@�� Y��̡Ɓ You know, because for me,
in those films,
that's what determines�������� Y what makes them classic
and what doesn't.��������� [sinister music]��C�u@�� yӠʡā Well, of course, uh,
my great-grandfather
being Lon Chaney Sr.������~ was very well renowned
in the horror genre.���C�u@�� ������� You can look at him,
and you see his influence��נ���� � all over Hollywood
even to this day.��Ҡ���� And he was the founding father
of the entire genre.��
C�u@�� ���١Ӂ In early 1930s, you have
the very famous versions
of Draculaand Frankenstein,��'�ǡ��� which set the look
of the monsters
for generations to come.���C�u@�� �=�š�� The character Dracula described
by Bram Stoker in his book��������R was a, a horrific,
ugly kind of a being.��tC�u�� �
����� Whereas my father brought
his own interpretation.��
ᠴ���� He did his own makeup,
his mode of dress,�� ZC�u��
������ his form of speech, his eyes.��i�����
My dad's portrayal really
inspired a whole movement.��C�u��
-��̡Ɓ The Goth movement
has got even carried over
into the music world��s�����! with, for example, Bauhaus.���C�u��
DN����� It was, uh, you know,
a dark, sinister,��ʠ����x evil personification�� .C�u��
`/����� that crossed both worlds
from the films to music.��gC�u@��
uD�ơ�� [Karina]
And the same with Frankenstein
and Boris Karloff.����ġ��
n You have the square head,
you have the bolts in the neck,���C�u@��
�G����� the ragged coat that comes down�� Y�ѡˁ
because his arms are
clearly taken from somebody
with very long arms.��"C�u��
������ It was so different��
������ from anything the audiences
had ever seen before.��
�C�u@��
�L����� It was startling.
Pushed so many envelopes.��d����� It was mesmerizing
because, you know,��������b that film has
no music whatsoever.�� �C�u@��
�ᠰ��� Only in the beginning
and in the end.��P������ And so when you really,
really think about it,��
������ it's a very, like,
empty-sounding film, you know,��RC�u@�������� and I was intrigued by that.��v�����$ It just sucked me in, and I,��)������ I've just been in,
in this world ever since.�� YC�u@����ȡ I like the scene
where the little girl
gives him the flower,��ʠǡ��x and then he picks her up
and fucking hums her.
I love that.��
�C�u@��