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Valentina Vitali

4 The Hindi horror films of the Ramsay brothers In Shaitani ilaaka / Satan’s Circle (Kiran Ramsay, 1990) we are presented with the murder of a man at the hands of a shape-shifting female. The barely dressed woman walks into a room where a man is lying on a bed. The camera, initially positioned behind and at a short distance from the woman, slowly tracks in to take up her point of view. She hypnotises him, has sex with him and finally kills him. We witness these actions as if through the woman’s eyes. This sequence is typical of Hindi horror cinema, which perhaps

in Capital and popular cinema
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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
George A. Romero’s horror of the 1970s
Linnie Blake

threat but by the nation’s failure to live up to its originary promise and by its leaders’ subsequent refusal to look upon the psycho-social wounds inflicted upon the people by that failure. Romero does not simply depict the traumatic ramifications of historic events, as a number of critics have observed, but undertakes a highly self-conscious George A. Romero’s horror of the 1970s 81 exploration as to the ways in which the generic conventions of horror cinema might expose the ways in which dominant ideologies of nationhood work as a means of repressing that trauma

in The wounds of nations
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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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
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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
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
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
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
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