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Affect, the Gas Pump and US Horror Films (1956–73)
Chuck Jackson

Invasion of the Body Snatchers (dir. Don Siegel, 1956), The Birds (dir. Alfred Hitchcock, 1963), and Night of the Living Dead (dir. George Romero, 1968) imbue scenes that take place at a gas pump with a horror so intense, it petrifies. As three of the earliest American horror films to feature a monstrous exchange at the pump, they transform the genre by reimagining automotive affect. This article examines the cinematic mood created when petrification meets petroleum, providing an alternative look at American oil culture after 1956, but before the oil crisis of 1973.

Film Studies
Abstract only
Michael Goodrum and Philip Smith

this process of dialogic construction, comics, particularly the crime and horror genres, attained the status of a moral panic. This panic was both domestic and international, and in both cases was explicitly tied into Cold War concerns around communism, race, and perceived ‘deviance’ in sexuality and gender roles. Comics were therefore swept up in the internalization of the doctrine of containment (then being applied by the US to international relations). In 1954, following a Senate subcommittee hearing on juvenile delinquency that took comics as its focus, the

in Printing terror
An introduction
Richard J. Hand and Jay McRoy

The history of horror film is full of adaptations that draw upon fiction or folklore, or have assumed the shape of remakes of preexisting films. From its earliest days, horror film has turned to examples of the horror genre in fiction (such as the Victorian Gothic) or legend (as diverse as classical mythology, biblical stories or the ‘The Golem’ from Yiddish folklore) for source

in Monstrous adaptations
Abstract only
Horror and the avant-garde in the cinema of Ken Jacobs
Marianne Shaneen

enigmatic nature of perception and the haunting ineffability of materiality. At first glance, Jacobs’ work might seem a bit out of place in the context of the horror genre. However, adapting the interpretive framework of the horror film to experimental film can be very illuminating. Jacobs’ filmmaking method is one of extraordinarily innovative adaptation, as demonstrated in his early film

in Monstrous adaptations
Exploring transgression, sexuality, and the other
Mark Richard Adams

notions of the monstrous ‘Other’, and more specifically, in relation to its portrayal of homosexuality and alternative sexualities. It will position this textual analysis within the context of ‘queering’ the horror genre, and through an analytical approach to the narratives and characters of the three films. Whilst there is no doubt that each individual film

in Clive Barker
Peter Hutchings

Horror is often a problem for critics. The all too visible stress in many horror films on morbid themes and acts of violence; the openly exploitative nature of much horror; the association of the genre with a predominantly adolescent audience: all these factors militate against the horror genre being viewed in anything but the most derogatory or patronising of terms. So much is this the case that even those critics who want to argue for the worth of these films sometimes find themselves negotiating

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

viewers could be seen as positioning themselves as willing victims of the visual and narrative horrors unfolding on screen. In relation to the horror genre as a whole, this is not an unproblematic position and many horror film theorists have debated this at length. For example, Linda Williams’ account of female horror film spectatorship suggests that female spectators are punished through

in Clive Barker
Peter Hutchings

Frankenstein (or the Monster that often goes under his name) and Dracula are without doubt the two ‘stars’ of the horror genre as well as being the most influential and widely known products of literary gothic. This fact raises the question of how Hammer’s Frankenstein and Dracula cycles relate to the earlier novels and films which originated and developed these figures. To put it another way, how can one conceive of Frankenstein’s and Dracula’s historical passage from their nineteenth

in Hammer and beyond
The sound of the cinematic werewolf
Stacey Abbott

electrical thunderstorms. The sound of the wolf is a recurring feature in haunted-house attractions, Gothic radio programmes and even the DVD menus for classic horror films. It is an immediately recognisable aural signifier for horror. The aim of this chapter will therefore be to consider the role that sound plays in the construction of the Gothic and horror genres, in particular through the soundscape of the werewolf film. While there is a growing body of work on music in relation to horror and the Gothic, sound still remains a too-often overlooked

in In the company of wolves
Peter Hutchings

wedded to a sense of the grotesque and the absurd, and the horror films it produced stand as a testament both to the heterogeneity of British horror cinema and to the way in which a range of British horror films differ from and in certain respects offer a challenge to what might be termed the Hammer hegemony. Of all the British film companies that sought to emulate Hammer’s success in the horror genre throughout the 1960s and early 1970s, Amicus was one of the most prolific and distinctive

in Hammer and beyond