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Sorcha Ní Fhlainn

reference point which would crystalise Barker in popular culture. Doug Bradley's ‘Pinhead’ became an iconic horror figure in late 1980s horror cinema, particularly due to the film's successful afterlife in the video rental market and its striking video-box cover of Pinhead holding the Lament Configuration. 4 A sequel was quickly planned (released within fifteen months) and scripted by Barker's long

in Clive Barker
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Parodies and Price
Richard J. Hand

. In a particularly playful episode of The Price of Fear, William Ingram’s adaptation of Robert Arthur’s ‘The Man Who Hated Scenes’ (21 December 1973), Price reluctantly shares a train journey with a stranger who, to many listeners, is instantly recognisable as another icon of popular horror cinema, Peter Cushing. As usual, Price plays Price, but Cushing plays an unassuming gentleman who tells

in Listen in terror
Thomas Edison’s Frankenstein and John Barrymore’s Dr Jekyll and Mr Hyde
Richard J. Hand

) This makes us realise that Dr Jekyll and Mr Hyde is not just a major example of early horror cinema; it is also a valuable theatrical document for the history of Shakespeare production as well as a reflection and adaptation of Barrymore’s concept and rehearsal practice for his concurrent performance as Shakespeare’s Richard III . Although Barrymore would always be thoroughly dismissive of this

in Monstrous adaptations
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Gothic television – texts and contexts
Helen Wheatley

, 1977) Supernatural (BBC1, 1977) The Clifton House Mystery (HTV, 1978) Rebecca (BBC1, 1979) Sapphire and Steele (ATV, 1979–82) Hammer House of Horror (Cinema Arts International, 1980) Woman in White (BBC2, 1982) The Children of Green Knowe

in Gothic television
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Graphic children’s texts and the twenty-first-century monster
Jessica Straley

’s inception. 2 This parallel between the child and the monster in children’s literature operates wholly differently than it does in the evil child trope of horror cinema. We do not discover – as in films such as The Bad Seed (1956), The Omen (1976), or Wicked Little Things (2006) – that the child is a monster. In texts for young readers, the monster is de-monstered and allowed to claim the best attributes of the child – though not without complication. For a great collection addressing cinema’s evil child, see Bohlmann and Moreland

in Adapting Frankenstein
The case of Blood on Satan’s Claw
Paul Newland

, Imagined Country (London and New York: Routledge, 1991), p. 8. 2 For more on the Gothic in English horror films, see David Pirie, A Heritage of Horror: The English Gothic Cinema 1946–​1972 (London:  Gordon Fraser, 1973); Jonathan Rigby, Jonathan, English Gothic:  a Century of Horror Cinema (London:  Reynolds & Hearn, 2002). Folk horror: the case of  Blood on Satan’s Claw 177 3 Peter Hutchings, ‘Uncanny landscapes in British film and television’, Visual Culture in Britain, 5: 2 (2004), pp. 27–​40; p. 29. 4 Hutchings, ‘Uncanny landscapes in British film and

in British rural landscapes on film
Exploring transgression, sexuality, and the other
Mark Richard Adams

prejudices in relation to religion, science, and the law and presents an alternative take on horror cinema where these institutions are the true monsters, persecuting and oppressing the usually demonised ‘Other’. The explosive finale of the film sees Boone urge the Nightbreed to fight back against the forces of oppression. ‘If we want to survive we can't hide. Brothers and

in Clive Barker
Spanish horror film in the marketplace
Antonio Lázaro-Reboll

reached ‘a peak in 2004 when seven of the top 25 local grossers were horrors’; second, international projection of Spanish horror cinema was favoured since it ‘often travels better than other Spanish production’; third, ‘a distinction [should be made] between the bulk of generally low-budget Spanish-language horrors from the likes of de la Iglesia, Barcelona-based genre specialists Filmax or upstart

in Contemporary Spanish cinema and genre
American gothic to globalgothic
James Campbell

within the book, film, gaming and comic book industries, it is unfortunate that it should be the recent surfeit of lacklustre, high-budget American remakes – of American horror cinema ‘classics’, and of the ‘modern classics’ of world horror cinema – that stand to define America’s international reputation in this field. Not only do they exacerbate the stigma already attached to the culture industries

in Globalgothic
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Globalising the supernatural in contemporary Thai horror film
Katarzyna Ancuta

interactions and exchange’ that Jonathan Xavier Inda and Renato Rosaldo note are entailed in current definitions of globalisation ( 2008 : 4). But does this mean that we can stipulate the existence of a separate category of globalgothic horror and, if so, what would be the potential consequences? The case of Thai horror cinema is a good starting point for discussion, since both ‘gothic’ and ‘horror’ are

in Globalgothic