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Hammer Film Studios’ reinvention of horror cinema
Morgan C. O’Brien

changed the face of horror cinema. With a production budget under £65,000 ($200,000), The Curse of Frankenstein (hereafter, Curse ) recouped its costs many times over and was an international hit (Hearn). Curse announced Hammer’s arrival as a cinematic player on the world stage, spawning six pseudo-sequels and launching a decade-long vogue for Gothic horror films. 1 Notably, Hammer’s film pre-dates the film that gave birth to the Italian Gothic movement, Mario Bava’s La Maschera del Demonio (1960, Black Sunday in the UK), and also American International

in Adapting Frankenstein
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Linnie Blake

-hour television documentary Heimat (1984) an identifiably German cinema could be seen to emerge; one that operated in dialogue with the ways in which other nations had represented the German past. But for all these films sought to evoke the horrors of that past, often through witness testimony, the disgusting viscerality of the Shoah’s annihilation of millions was not a subject for graphic depiction. And this is where horror cinema can be seen to fulfil a significant socio-cultural and psycho-political function. As argued in the Introduction to this study, critical engagement

in The wounds of nations
Clive Barker’s Halloween Horror Nights and brand authorship
Gareth James

the film industry, this chapter will then discuss the role of theme parks and Barker's mazes within broader industrial trends for branding, horror cinema and the aesthetics of his films. Finally, the article will identify how Barker's experimentation with theme park mazes informs ongoing trends for his success as a brand-name auteur and producer across different media forms

in Clive Barker
Gothic aesthetics and feminine identification in the filmic adaptations of Clive Barker
Brigid Cherry

aesthetics do arise, but in the context of Barker's status within the fan canon, and especially amongst female fans, how might responses in the chosen audience to his films aid our understanding of the aesthetic pleasures of horror cinema? Furthermore, in considering the female audience specifically, what is it about films adapted from his work in particular that hold such strong

in Clive Barker
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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

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Michael Goodrum and Philip Smith

direct response to the crippled and mutilated veterans who returned from the First World War.23 These images of disfigured bodies also found a home in cinema in the form of the rat-like vampire in Nosferatu and the autonomous hand in Orlacs Hände. European horror cinema, then, offered a window into the cultural unconscious after the First World War. American filmmakers found themselves scrambling to catch up. The earliest film interventions in horror came from Universal Studios, which began production of what is now known as the Universal Monsters series of films in

in Printing terror
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Peter Hutchings

, uses the study of directors as one way of exploring particular areas of British cinema. 1 Both of these functions are readily apparent, for instance, in David Pirie’s A Heritage of Horror: The English Gothic Cinema 1946–1972 which intertwines an evaluation of Fisher as auteur (along with some other director studies) with a more general account of British horror cinema. Fisher himself emerges from this as a film-maker who

in Terence Fisher
The heritage of horror on British television
Helen Wheatley

portmanteau format from this studio in the late 1960s and early 1970s, whereby three or four short stories were grouped together within a single film, framed by frequently implausible devices for storytelling established at the start of each film, might in fact be seen as British horror cinema referencing television’s anthology format. Peter Hutchings ( 2002b ) offers a thorough account of the origins of the

in Gothic television
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Linnie Blake

deployed by American film makers to explore and revise ideas of national identity in the light of the traumatic events of the recent past. From the 1960s onwards, in response to the Vietnam War, the 126 From Vietnam to 9/11 generational, ethnic and regional conflict engendered by the imposition of Civil Rights in the South and the rise of the counterculture across the United States, a new kind of horror cinema, exclusively located in the backwoods of the American psyche had emerged as films such as John Boorman’s Deliverance (1972), Tobe Hooper’s The Texas Chainsaw

in The wounds of nations
Ruth Barton

Until the late 1990s, no recognisable Irish horror cinema existed. Since then, it has become one of the most prolific genres of contemporary Irish filmmaking, and, in keeping with generic precedent, the one most likely to disturb the boundaries of self and Other, geography, gender and race. The selection of films discussed in this chapter range from conventional Gothic horror to exploitation cinema, to ‘revenge of nature’ horror, to high-school zombie-comedies and other parodies. There is even an Irish-language horror television film, Na Cloigne

in Irish cinema in the twenty-first century