A New Heritage of Horror: The English Gothic CinemaDavid Pirie's acclaimed 'A Heritage of Horror' was the first book on the British horror movie, and the first to detect and analyse the roots of British horror, identifying it as 'the only staple cinematic myth which Britain can properly claim as its own.' It has long been regarded as a trail-blazing classic, "having the force of a revelation," according to one recent study of the subject, and heralded by Michael Powell and Martin Scorsese. Now with 'A New Heritage of Horror', David Pirie has revised his original work, bringing the story up to date and into the 21st century. Alongside the classic films of the twentieth century, all explored within the full context of their production and appearance on our screens, he examines the latest horror boom, inaugurated by such films as 'The Others' and '28 Days Later'. He has also uncovered fresh documentation from the original files for this new edition, to add more revelations abuot the history of UK horror and Hammer Films, not least the largely untold story of their desperate battles against censorship. He has further up-dated the original text and added new illustrations. 'The New Heritage of Horror' promises to be one of the key film books of 2008. |
From inside the book
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Page 75
... sequence , before Mocata gains control , contains 13 shots facing Mocata and 13 facing Marie - an example of Fisher's precision as a director which clearly reflects his long apprenticeship as an editor . ) The shots of Marie become ...
... sequence , before Mocata gains control , contains 13 shots facing Mocata and 13 facing Marie - an example of Fisher's precision as a director which clearly reflects his long apprenticeship as an editor . ) The shots of Marie become ...
Page 76
... sequence in which De Richleau and Rex career down into the centre of the Satanists in their car with De Richleau quoting from the Psalms ( ' Who so dwelleth under the defence of the most High shall abide under the shadow of the Almighty ...
... sequence in which De Richleau and Rex career down into the centre of the Satanists in their car with De Richleau quoting from the Psalms ( ' Who so dwelleth under the defence of the most High shall abide under the shadow of the Almighty ...
Page 100
... sequence a dashing metaphysical detective story with a strong diagrammatic structure in terms of image , colour and landscape . The production also marked the first occasion on which wide screen and colour was used to convey the visual ...
... sequence a dashing metaphysical detective story with a strong diagrammatic structure in terms of image , colour and landscape . The production also marked the first occasion on which wide screen and colour was used to convey the visual ...
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American Amicus Anthony Hinds audience BBFC become Black Museum Blood Bray British cinema British film British horror budget camera censor character Christopher Lee climax Colour critics Curse of Frankenstein D/sc Darkness David Dead Devil Rides director Dracula earlier effect England Ex Story fact film-maker film's finally Freddie Francis genre ghost story girl Gothic Hammer Films Helsing Heritage of Horror highly horror film horror movie idea Jack James Carreras Jimmy Sangster John Gilling kind Kneale later Lugosi Mary Michael Carreras monster murder never Night novel original Peeping Peter Cushing picture play plot production Quatermass Quatermass II Reeves release Revenge of Frankenstein Richard Ripper Robert scene Scream screen script seems sequence Sewell sexual shot star Stoker studio successful television Terence Fisher Terror themes thriller tion Trevelyan UK horror Vampire Vincent Price Warners whole Witchfinder writing wrote X the Unknown