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
Illustrations | 4 |
The British censors and horror cinema 10 | 10 |
A crude sort of entertainment for a crude sort | 23 |
in Britain 124 | 42 |
Video cover for Larrazs erotic shocker Vampyres 1974 | 53 |
Horrific films and 1930s British cinema | 58 |
Psychothriller questce que cest? | 71 |
Tod Slaughter in The Curse of the Wraydons 1946 | 76 |
The Amicus house of horror | 131 |
Peter Cushing in The House that Dripped Blood 1971 | 137 |
Death Line | 145 |
Sylvia Syms in Roy Ward Bakers Asylum 1972 | 152 |
Anthony Sharp and Sheila Keith in House of Mortal Sin 1975 | 166 |
Clive Barkers pleasures | 172 |
Clive Barker on the set of Hellraiser 1987 | 176 |
Richard Stanley directs Robert Burke on the set of Dust | 189 |
Christopher Lee and The Wicker Man 1973 | 85 |
the architecture of ambiguity | 99 |
diagnosing | 117 |
Mia Farrow and Mary Morris in Full Circle 1976 | 121 |
The medium Myra Kim Stanley in Séance on a Wet Afternoon 1964 | 128 |
Filmography of British horror films of the sound era | 196 |
| 234 | |
| 238 | |