This conclusion presents some closing thoughts on the concepts discussed in this book. The book examines Terence Fisher as a director dependent on and at ease with the industrial and collaborative nature of film-making. Praised by David Pirie in the early 1970s as a Gothic auteur, he has since come to be seen as the reactionary face of British horror against which more radical and innovative approaches can be defined. The book presents Fisher as a more complex figure than this, as not entirely the auteur identified by Pirie but neither the wholly reactionary film-maker imagined by others. Isabel Cristina Pinedo has suggested that Hammer horror forms a transitional stage between 'classical horror' and more modern forms of horror. Fisher's horror films perhaps represent more clearly than other Hammer horrors some of the tensions and uncertainties involved in this transition.
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.