British Horror CinemaSteve Chibnall, Julian Petley British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The Ghoul and Dark Eyes of London to acknowledged classics such as Peeping Tom and The Wicker Man. Contributors explore the contexts in which British horror films have been censored and classified, judged by their critics and consumed by their fans. Uncovering neglected modern classics like Deathline, and addressing issues such as the representation of family and women, they consider the Britishness of British horror and examine sub-genres such as the psycho-thriller and witchcraftmovies, the work of the Amicus studio, and key filmmakers including Peter Walker. Chapters include:
Also featuring a comprehensive filmography and interviews with key directors Clive Barker and Doug Bradley, this is one resource film studies students should not be without. |
Contents
The return of the repressed? British horrors heritage and future | 1 |
The British censors and horror cinema | 10 |
A crude sort of entertainment for a crude sort of audience the British critics and horror cinema | 23 |
Screaming for release femininity and horror film fandom in Britain | 42 |
Horrific films and 1930s British cinema | 58 |
Psychothriller questce que cest? | 71 |
Necromancy in the UK witchcraft and the occult in British horror | 82 |
The old dark house the architecture of ambiguity in The Turn of the Screw and The Innocents | 99 |
The Amicus house of horror | 131 |
A descent into the underworld Death Line | 145 |
A heritage of evil Pete Walker and the politics of Gothic revisionism | 156 |
On the side of the demons Clive Barkers pleasures and painsInterviews with Clive Barker and Doug Bradley | 172 |
Dying light an obituary for the great British horror movie | 183 |
Filmography of British horror films of the sound era | 196 |
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BarbaraJulia Carol Myra and Nell diagnosing female madness in British horror cinema | 117 |