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Generic and thematic mutations in horror film
Editors: Richard J. Hand and Jay McRoy

From its earliest days, horror film has turned to examples of the horror genre in fiction, such as the Victorian Gothic, for source material. The horror film has continually responded to cultural pressures and ideological processes that resulted in new, mutated forms of the genre. Adaptation in horror cinema is a useful point of departure for articulating numerous socio-cultural trends. Adaptation for the purposes of survival proves the impetus for many horror movie monsters. This book engages generic and thematic adaptations in horror cinema from a wide range of aesthetic, cultural, political and theoretical perspectives. These diverse approaches further evidence the horror genre's obsession with corporeal transformation and narratological re-articulation. Many horror films such as Thomas Edison's Frankenstein, John S. Robertson's Dr Jekyll and Mr Hyde, David Cronenberg'sVideodrome, Abel Ferrara's Body Snatchers, and Terence Fisher's The Gorgon are discussed in the book. The book sheds welcome light upon some of the more neglected horror films of cinema's first century, and interrogates the myriad alterations and re-envisionings filmmakers must negotiate as they transport tales of terror between very different modes of artistic expression. It extends the volume's examination of adaptation as both an aesthetic process and a thematic preoccupation by revealing the practice of self-reflexivity and addresses the remake as adaptation. The book analyses the visual anarchy of avant-garde works, deploys the psychoanalytic film theory to interpret how science and technology impact societal secularisation, and explores the experimental extremes of adaptation in horror film.

Clive Barker’s Halloween Horror Nights and brand authorship
Gareth James

. Beeler, ‘ Lord of Illusions .’ 9 Particularly see Brigid Cherry, ‘Imperfect Geometry: Identity and Culture in Clive Barker's “The Forbidden” and Bernard Rose's Candyman ,’ in Richard J. Hand and Jay McRoy (eds), Monstrous Adaptations: Generic and Thematic

in Clive Barker
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Sorcha Ní Fhlainn

: Generic and Thematic Mutations in Horror Film (Manchester: Manchester University Press, 2007), p. 51.

in Clive Barker
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Orpheus and Pygmalion
Sarah Annes Brown

. 5 M. Shaneen, ‘Adapting the occult: horror and the avant-garde in the cinema of Ken Jacobs’, in R. J. Hands and J. McRoy (eds), Monstrous Adaptations: Generic and Thematic Mutations in Horror Film (Manchester: Manchester University Press, 2007 ), pp. 111–26, p. 111. 6 Ovid, Metamorphoses

in A familiar compound ghost