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Book of the dead original

book of the dead original

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Book Of The Dead Original Video

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The earliest known occurrence of the spells included in the Book of the Dead is from the coffin of Queen Mentuhotep , of the 13th dynasty , where the new spells were included amongst older texts known from the Pyramid Texts and Coffin Texts.

Some of the spells introduced at this time claim an older provenance; for instance the rubric to spell 30B states that it was discovered by the Prince Hordjedef in the reign of King Menkaure , many hundreds of years before it is attested in the archaeological record.

By the 17th dynasty , the Book of the Dead had become widespread not only for members of the royal family, but courtiers and other officials as well.

At this stage, the spells were typically inscribed on linen shrouds wrapped around the dead, though occasionally they are found written on coffins or on papyrus.

The New Kingdom saw the Book of the Dead develop and spread further. From this period onward the Book of the Dead was typically written on a papyrus scroll, and the text illustrated with vignettes.

During the 19th dynasty in particular, the vignettes tended to be lavish, sometimes at the expense of the surrounding text. In the Third Intermediate Period , the Book of the Dead started to appear in hieratic script, as well as in the traditional hieroglyphics.

The hieratic scrolls were a cheaper version, lacking illustration apart from a single vignette at the beginning, and were produced on smaller papyri.

At the same time, many burials used additional funerary texts, for instance the Amduat. During the 25th and 26th dynasties , the Book of the Dead was updated, revised and standardised.

Spells were consistently ordered and numbered for the first time. This standardised version is known today as the 'Saite recension', after the Saite 26th dynasty.

In the Late period and Ptolemaic period , the Book of the Dead remained based on the Saite recension, though increasingly abbreviated towards the end of the Ptolemaic period.

The last use of the Book of the Dead was in the 1st century BCE, though some artistic motifs drawn from it were still in use in Roman times. The Book of the Dead is made up of a number of individual texts and their accompanying illustrations.

Most sub-texts begin with the word ro, which can mean "mouth," "speech," "spell," "utterance," "incantation," or "a chapter of a book.

At present, some spells are known, [15] though no single manuscript contains them all. They served a range of purposes.

Some are intended to give the deceased mystical knowledge in the afterlife, or perhaps to identify them with the gods: Still others protect the deceased from various hostile forces or guide him through the underworld past various obstacles.

Famously, two spells also deal with the judgement of the deceased in the Weighing of the Heart ritual. Such spells as 26—30, and sometimes spells 6 and , relate to the heart and were inscribed on scarabs.

The texts and images of the Book of the Dead were magical as well as religious. Magic was as legitimate an activity as praying to the gods, even when the magic was aimed at controlling the gods themselves.

The act of speaking a ritual formula was an act of creation; [20] there is a sense in which action and speech were one and the same thing.

Hieroglyphic script was held to have been invented by the god Thoth , and the hieroglyphs themselves were powerful. Written words conveyed the full force of a spell.

The spells of the Book of the Dead made use of several magical techniques which can also be seen in other areas of Egyptian life.

A number of spells are for magical amulets , which would protect the deceased from harm. In addition to being represented on a Book of the Dead papyrus, these spells appeared on amulets wound into the wrappings of a mummy.

Other items in direct contact with the body in the tomb, such as headrests, were also considered to have amuletic value. Almost every Book of the Dead was unique, containing a different mixture of spells drawn from the corpus of texts available.

For most of the history of the Book of the Dead there was no defined order or structure. The spells in the Book of the Dead depict Egyptian beliefs about the nature of death and the afterlife.

The Book of the Dead is a vital source of information about Egyptian beliefs in this area. One aspect of death was the disintegration of the various kheperu , or modes of existence.

Mummification served to preserve and transform the physical body into sah , an idealised form with divine aspects; [29] the Book of the Dead contained spells aimed at preserving the body of the deceased, which may have been recited during the process of mummification.

The ka , or life-force, remained in the tomb with the dead body, and required sustenance from offerings of food, water and incense.

In case priests or relatives failed to provide these offerings, Spell ensured the ka was satisfied. It was the ba , depicted as a human-headed bird, which could "go forth by day" from the tomb into the world; spells 61 and 89 acted to preserve it.

An akh was a blessed spirit with magical powers who would dwell among the gods. The nature of the afterlife which the dead person enjoyed is difficult to define, because of the differing traditions within Ancient Egyptian religion.

In the Book of the Dead , the dead were taken into the presence of the god Osiris , who was confined to the subterranean Duat.

There are also spells to enable the ba or akh of the dead to join Ra as he travelled the sky in his sun-barque, and help him fight off Apep.

There are fields, crops, oxen, people and waterways. The deceased person is shown encountering the Great Ennead , a group of gods, as well as his or her own parents.

While the depiction of the Field of Reeds is pleasant and plentiful, it is also clear that manual labour is required.

For this reason burials included a number of statuettes named shabti , or later ushebti. These statuettes were inscribed with a spell, also included in the Book of the Dead , requiring them to undertake any manual labour that might be the owner's duty in the afterlife.

The path to the afterlife as laid out in the Book of the Dead was a difficult one. The deceased was required to pass a series of gates, caverns and mounds guarded by supernatural creatures.

Their names—for instance, "He who lives on snakes" or "He who dances in blood"—are equally grotesque. These creatures had to be pacified by reciting the appropriate spells included in the Book of the Dead ; once pacified they posed no further threat, and could even extend their protection to the dead person.

If all the obstacles of the Duat could be negotiated, the deceased would be judged in the "Weighing of the Heart" ritual, depicted in Spell The deceased was led by the god Anubis into the presence of Osiris.

There, the dead person swore that he had not committed any sin from a list of 42 sins , [44] reciting a text known as the "Negative Confession".

Then the dead person's heart was weighed on a pair of scales, against the goddess Maat , who embodied truth and justice.

Maat was often represented by an ostrich feather, the hieroglyphic sign for her name. If the scales balanced, this meant the deceased had led a good life.

Anubis would take them to Osiris and they would find their place in the afterlife, becoming maa-kheru , meaning "vindicated" or "true of voice".

This scene is remarkable not only for its vividness but as one of the few parts of the Book of the Dead with any explicit moral content. The judgment of the dead and the Negative Confession were a representation of the conventional moral code which governed Egyptian society.

For every "I have not John Taylor points out the wording of Spells 30B and suggests a pragmatic approach to morality; by preventing the heart from contradicting him with any inconvenient truths, it seems that the deceased could enter the afterlife even if their life had not been entirely pure.

A Book of the Dead papyrus was produced to order by scribes. Scott plays plays a tape of the archaeologist reciting a series of incantations that resurrect a mysterious, demonic entity.

Agitated, Cheryl goes outside to investigate strange noises she has heard. In the woods, she is raped by demonically possessed trees.

When she returns to the cabin bruised and anguished, Ash agrees to take her into town for the night. However, they soon discovers that the bridge to the cabin has been destroyed.

Back at the cabin, Ash listens to more of the tape, learning that the only way to kill the entity is to dismember the body when it possesses a host.

Cheryl succumbs to the entity and attacks the others, stabbing Linda in the ankle with a pencil before Scott is able to lock her in the cellar.

Shelly becomes possessed as well, forcing Scott to chop up her body with an axe and bury the remains. Shaken by the experience, he leaves to find a way back to town but soon returns mortally wounded; he dies while warning Ash that the trees will not let them escape alive.

When Ash goes to check on Linda, he is horrified to find that she too has become possessed by the demon. She attacks him, but stabs her with a Sumerian dagger.

Unwilling to dismember her, he buries her instead. But when she revives and attacks him, he is forced to decapitate her. Back in the cabin, Ash is attacked by Cheryl, who has escaped the cellar, and the reanimated Scott.

Ash manages to throw the Naturan Demanto into the fireplace. As the book burns, Scott and Cheryl gruesomely decompose, leaving the disgusted Ash covered in their blood and entrails.

As day breaks, Ash stumbles outside. Before he can get in his car to leave, the entity attacks him from behind, dragging him screaming into the woods.

Raimi and Campbell grew up together, and have been friends from an early age. The idea was to shoot a short film first, which would attract the interest of producers, and then use the money gained from that to shoot a full-length project.

To generate funds for the film, Raimi approached Phil Gillis, a lawyer to one of his friends. With his advice in mind, Raimi asked a variety of people for donations, and even eventually "begged" some.

With enough money to produce the film, Raimi and Campbell set out to make what was then titled Book of the Dead , a name inspired by Raimi's interest in the fiction of H.

Raimi turned 20 just before shooting began, and he considered the project his " rite of passage ". Raimi asked for help and assistance from several of his friends and past collaborators to make The Evil Dead.

Betsy Baker was one of the actresses who responded, and Ellen Sandweiss , who appeared in Within the Woods , was also cast.

The make-up adviser for Within the Woods , Tom Sullivan, was brought on to compose the effects after expressing a positive reaction to working with Raimi.

Without any formal assistance from location scouts, the cast had to find filming locations on their own. The crew initially attempted to shoot the film in Raimi's hometown of Royal Oak, Michigan , but instead chose Morristown, Tennessee , as it was the only state that expressed enthusiasm for the project.

The crew quickly found a remote cabin located several miles away from any other buildings. During pre-production, the 13 crew members had to stay at the cabin, leading to several people sleeping in the same room.

The living conditions were notoriously difficult, with several arguments breaking out between crew members. Steve Frankel was the only carpenter on set, which made him the art direction's sole contributor.

Otherwise, the cabin mostly remained the way it was found during production. The cabin had no plumbing, but phone lines were connected to it.

Because of the crew's inexperience, filming was a "comedy of errors". The crew was surprised when Raimi began using dutch angles during shots to build atmosphere during scenes.

One involved the "vas-o-cam", which relied on a mounted camera that was slid down long wooden platforms to create a more fluid sense of motion.

A camera trick used to emulate a Steadicam inexpensively was the " shaky cam ", which involved mounting the camera to a piece of wood and having two camera operators sprint around the swamp.

Raimi had been a big fan of The Three Stooges franchise during his youth, and it inspired him to use " Fake Shemps " during production. His brother Ted Raimi was used as a substitute in many scenes when the original actor was either busy or preoccupied.

Raimi famously enjoyed "torturing" his actors. Because of the copious amounts of blood in the film, the crew produced gallons of fake blood with karo syrup.

On the last few days on set, the conditions had become so poor that the crew began burning furniture to stay warm.

Since only exterior shots needed to be filmed at that point, they burned nearly every piece of furniture left.

Campbell later described the filming process as nearly "twelve weeks of mirthless exercise in agony", though he allowed that he did manage to have fun while on set.

Four days of re-shoots were then done to complete the film. After the extensive filming process, Raimi had a "mountain of footage" that he had to put together.

Paul's assistant was Joel Coen of the Coen brothers , who helped with the film's editing. Coen had been inspired by Raimi's Within the Woods and liked the idea of producing a prototype film to help build the interest of investors.

The film's first cut ran at around minutes, which Campbell called an impressive achievement in light of the minute length of the screenplay.

It was then edited down to a more marketable 85 minutes. Dead chickens were stabbed to replicate the sounds of mutilated flesh, and Campbell had to scream into a microphone for several hours.

Much like Within the Woods , The Evil Dead needed to be blown up to 35mm, then the industry standard, to be played at movie theaters.

With the film completed, Raimi and the crew decided to celebrate with a "big premiere". Local turnout for the premiere exceeded the cast's expectations, with a thousand patrons showing up.

The audiences responded enthusiastically to the premiere, which led to Raimi's idea of "touring" the film to build hype. Raimi showed the film to anyone willing to watch it, booking meetings with distribution agents and anyone with experience in the film industry.

Romero 's Night of the Living Dead and other famous horror films. Raimi brainstormed several ideas, eventually going with The Evil Dead , deemed the "least worst" title.

Shapiro was a founder of the Cannes Film Festival , and allowed Raimi to screen the film at the festival out of competition.

USA Today released an article about King's favorite horror films; the author cited The Evil Dead as his fifth favorite film of the genre.

The film's press attracted the attention of British film distribution agent Stephen Woolley. Fangoria started covering the film in late , writing several articles about the film's long production history.

Audience reception at both screenings was widely enthusiastic, and interest was built for the film to such an extent that wider distribution was planned.

New Line Cinema wrote Raimi a check large enough to pay off all the investors, and decided to release the film in a unique manner: Because of its large promotional campaign, the film performed above expectations at the box office.

It quickly became that week's best-selling video release, and later became the year's best-selling video in the UK, out-grossing large-budget horror releases such as The Shining.

The film's release was met with controversy. Raimi made the film as gruesome as possible with neither interest in nor fear of censorship, which led to the film's receiving an X rating and being named a " video nasty ".

Congress Video, a company notable for public domain films, issued its version in The resurgence of The Evil Dead in the home-video market came through two companies that restored the film from its negatives and issued special editions in Anchor Bay was responsible for the film's first DVD release in , and between them, Elite and Anchor Bay have released six different DVD versions of The Evil Dead , most notably the "Book Of The Dead" edition, packaged in a latex replica of the Necronomicon sculpted by Tom Sullivan and the three disc "Ultimate Edition" which contained the widescreen and original full frame versions of the movie.

Upon its release, contemporary critical opinion was largely positive. It summarizes the film: Slant Magazine ' s Ed Gonzales compared the film to Dario Argento 's work, citing Raimi's "unnerving wide angle work" as an important factor to the film's atmosphere.

He mused that Raimi possessed an "almost unreal ability to suggest the presence of intangible evil", which was what prevented the movie from being "B-movie schlock".

Glanville noted that other than the "ill-advised trees-that-rape scene", the film is "one of the great modern horror films, and even more impressive when one considers its modest production values.

It started as a disastrous failure to obtain a big break with a too long, too perilous shoot note Campbell's changing hairstyle in the various scenes of the one-day plot.

The film went through name changes and bannings only to survive as not only 'the ultimate experience in grueling horror' but as an oft-imitated and cashed-in-on classic, with 30 years of positive reviews to prove it.

While The Evil Dead received favorable critical comment when it was initially released, it failed to establish Raimi's reputation. The film, Crimewave , was a box-office failure.

Evil Dead II was filmed and released in , and was also a box-office success. The Evil Dead and its sequels have become one of the largest cult film trilogies in history.

Critics have often compared Campbell's later performances to his role in Evil Dead , which has been called his defining role. The Evil Dead has spawned a media empire.

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