Urban legends, those apocryphal stories told in university dormitories and around campfires about hook-handed psycho-killers and boyfriends discovered hanging above the parked cars, are a form of oral literature. This chapter explores the adaptive processes these largely formless narratives have undergone to be made into mainstream cinematic horror narratives. It expands on Paul Smith's typology by considering some of the structural issues of the urban legend film, that is, films based primarily or largely on orally circulated belief narratives. The chapter defines some of the more textual dimensions to the urban legend horror film in an effort to expand on what Smith began. It identifies four main narrative strategies that filmmakers avail themselves to within Smith's 'complete plot' category: extended, resultant, structuring and fusion narratives. The chapter summarises two multi-strand narratives: fusion narratives and anthologies.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book considers memory as a specific framework for the study of popular film, intervening in growing debates about the status and function of memory in cultural life and discourse. It examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The book explores the political stakes of cinematic discourse in its production of national memory. It also examines the discursive and institutional apparatus that has come to support the memory of Classic Hollywood in British cultural life. The book also considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory.