Presents the history of horror films and the horror film industry in the 1950s and 1960s. This book reveals how the monsters that frightened audiences in the 1950s and 1960s - and the movies they crawled and staggered through - reflected fundamental changes in the film industry, and in the production, distribution, and exhibition of horror movies.
In 1945, a reviewer remarked on the emergence of a "cycle of mystery and horror pictures (that were) placed in the gaslight era of the turn of the century". This title examines these films and looks to explain what prompted film-makers to look to the gaslight era at the time they did.
This revised guide to silent film studies contains two new chapters that present an analysis of colour technology and aesthetics and look at how silent films are saved, restored and made accessible via archives. Aided by new material, it is a survey of the first 30 years in the history of film.
Intrigued by the idea of frontier wilderness, of law and order vs lawlessness, and a firm belief that 'the better the bad guy, the better the film', Barry Stone goes beyond the American south-west to pay homage to the Italian and even Australian western - and, after much deliberation, he ranks them in order...
A comprehensive resource of key writings on early cinema, addressing filmmaking practice, film form, style and content, and the ways in which silent films were exhibited and understood by their audiences, from the beginnings of film in the late 19th century to the coming of sound in the late 1920s.
Alien Chic sets out to provide a cultural history of the alien since the 1950s, asking why our attitudes to aliens have changed from fear to affection, and what this can tell us about how we now see ourselves and others.
This comprehensive history of Japanese animation draws on Japanese primary sources and testimony from industry professionals to explore the production and reception of anime, from its early faltering steps, to the international successes of Spirited Away and Pokemon.
The gangster is perhaps the most potent figure in American cinema. Yet film criticism has focused almost entirely on a few canonical films such as Little Caesar, The Public Enemy, and The Godfather trilogy, resulting in a limited and distorted understanding of the compelling presence and persistence of the gangster.
Combining historical narrative with close readings of several significant horror films, this brief volume offers a broad and lively introduction to cinematic horror. In doing so, it outlines and investigates important issues in the production, consumption, and cultural interpretation of the genre.
Modern special effects have made large-scale superhero epics possible, but the diversity of the comics being published has made for a wide variety of subjects. This book looks at 20 key titles in detail, covering every stage of the journey from comic book panel to feature film frame.
First published in 1957, this work of film theory analyses the process by which novels are transformed into films. Beginning with a discussion of the aesthetic limits of both the novel and the film, the author goes on to offer readings of six films based on novels of serious literary merit.
An original blending of literary and film studies which seeks to dissolve barriers between the two disciplines. Offers a new reading of Dickens from the perspective of film, technology and visuality. Proposes a new reading of the emergence of film in the light of social and industrial transformations.
Examines the mock-documentary through the specific relationship which the form constructs with documentary. The analysis includes detailed discussions of a number of key mock-documentary texts ranging from "Zelig" and "The Falls" through to examples like "Bob Roberts" and "This is Spinal Tap".
The definitive study of a seminal genre of nonfiction cinema, The Essay Film examines the form's origins, literary precursors, and works by its greatest practitioners, like Chris Marker, Agnes Varda, Errol Morris, Chantal Akerman, Werner Herzog, and others.
Explores the ways in which a group of groundbreaking horror films engaged the haunting social conflicts left in the wake of World War II, Hiroshima, and the Vietnam War. This book shows that through allegorical representations these directors' films confronted and challenged comforting historical narratives and notions of national identity.
This history of the horror film explores the genre's relationship to the social and cultural history of homosexuality in America. The text draws on a wide variety of films and primary sources including censorship files, critical reviews, promotional materials, fanzines and popular news weeklies.
Explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves both as gendered individuals and as members of a particular nation-state.
Tells of films set in London music halls and Yorkshire coal mines, South Sea islands and Hungarian modernist houses of horror, with narrators that travel in space and time from Paris to ancient Egypt. This title reveals disparities across horror filmmaking in 1930s and brings to light a cycle of films of which many have been forgotten and unloved.