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INFORMATION GUIDE STATEMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iBFI NATIONAL LIBRARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iiACCESSING RESEARCH MATERIALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iiiAPPROACHES TO RESEARCH, by Samantha Bakhurst . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iv

HORRORBooks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1Journal Articles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

CASE STUDIES

Alien Trilogy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12Dracula . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13Frankenstein . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14Hammer Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Compiled by: Erinna MettlerTess Forbes

Andrew OrmsbyEmma Smart

Ian O’Sullivan

Design/Layout: Ian O’Sullivan

Project Manager: David Sharp

© BFI (1998, rev 2003) National Library, 21 Stephen Street, London W1T 1LN

16 + Source Guide

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16+ MEDIA STUDIES

INFORMATION GUIDE STATEMENT

“Candidates should note that examiners have copiesof this guide and will not give credit for merereproduction of the information it contains.Candidates are reminded that all research

sources must be credited”.

BFI NATIONAL LIBRARY

All the materials referred to in thisguide are available for consulta-tion at the BFI National Library. Ifyou wish to visit the reading roomof the library and do not alreadyhold membership, you will need totake out a one-day, five-day orannual pass. Full details of accessto the library and charges can befound at:

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copies of articles

If you are unable to visit thelibrary or would like materialsreferred to in this guide sent toyou, the BFI Information Servicecan supply copies of articles via itsResearch Services. Research ischarged at a range of hourly rates,with a minimum charge for halfan hour’s research – full details ofservices and charges can be foundat:

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For queries about article copyingor other research, please contactInformation Services at the aboveaddress or telephone number, orpost your enquiry online at:

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OTHER SOURCES

Your local library

Local libraries should have accessto the inter-library loan system forrequesting items they do not holdand they may have copies ofMONTHLY FILM BULLETIN andSIGHT AND SOUND. Some recentnewspaper items may be held byyour local reference library. Largerlibraries will hold other relevantmaterials and should offer inter-net access.

Your nearest college/university

Universities may allow access tooutside students, though you maynot be able to borrow books orjournals. Ask your referencelibrarian, who should be able toassist by locating the nearest col-lege library holding suitable mate-rial. The BFI Film and TelevisionHandbook lists libraries with signif-icant media collections.

Your school library

Local bookshops

Some of the books mentioned inthe bibliography will be in printand your bookshop should be ableto order items for you.

The British Library NewspaperLibrary

The Newspaper Library will haveall the newspaper items referredto in this guide. Contact thelibrary first if you wish to visit.16+ students under the age of 18will need to make an appoint-ment.

The British Library NewspaperLibraryColindale Avenue London NW9 5HE Tel. 020 7412 7353Email: newspaper@bl.uk

www.bl.uk/collections/collect.html#newsBL

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accessing research materials

by Samantha Bakhurst

Why do research?

You cannot simply rely on yourexisting knowledge whenapproaching essays in MediaStudies. Although you will havesome understanding of the areabeing explored, it is not enough toenable you to examine the area indepth. If you were asked to writeabout the people in your street indetail, you might have some exist-ing information about names,faces, relationships, issues andactivities but this knowledgewould not offer you details such asevery single one of their names,who knows who, who gets on withwhom, how people earn a living,what has happened to them in thepast and so on. This extra informa-tion could change your opinionsquite dramatically. Without it,therefore, your written profilewould end up being quite shallowand possibly incorrect. The same istrue of your understanding ofmedia texts, issues and institu-tions.

Before researching any area, it isuseful to be clear about what out-comes you are hoping to achieve.Research is never a waste of time,even when it doesn’t directlyrelate to the essay you are prepar-ing. The information may be rele-vant to another area of the syl-labus, be it practical work or sim-ply a different essay. Also, the pic-ture you are building up of how anarea works will strengthen yourunderstanding of the subject as awhole. So what outcomes are youhoping to achieve with yourresearch?

A broad overview of the area youare researching: This includes itshistory, institutions, conventionsand relationship to the audience.Research into these aspects offersyou an understanding of how yourarea has developed and the influ-ences that have shaped it.

An awareness of different debateswhich may exist around the areaof study: There are a range ofdebates in many subject areas. Forexample, when researching audi-ences you will discover that thereis some debate over how audi-ences watch television or film,

ranging from the passive con-sumption of values and ideas tothe use of media texts in a criticaland independent way. Any discus-sion about censorship, for exam-ple, will be extremely shallow ifyou have no knowledge of thesedifferent perspectives.

Some knowledge of the work oftheorists in the area: You need todemonstrate that you have readdifferent theorists, exploring therelevant issues and investigatingthe area thoroughly in order todevelop your own opinion basedon acquired knowledge and under-standing.

Information relevant to all keyconcept areas: You should, afterresearch, be able to discuss all keyconcept areas as they relate tothat specific subject area. Theseare the codes and conventions,representation, institutions andaudience.

Types Of Research

Primary: This is first-handresearch. In other words, it relieson you constructing and conduct-ing surveys, setting up interviewswith key people in the mediaindustry or keeping a diary or logof data (known as quantitativeinformation) on things such as, forexample, what activities womenare shown doing in advertise-ments over one week of televisionviewing. Unless you are equippedto conduct extensive research,have access to relevant people inthe media industry or are thor-ough in the up-keep of your diaryor log, this type of research can bedemanding, complex and some-times difficult to use. Having saidthat, if you are preparing for anextended essay, then it is exactlythis type of research which, if wellused, will make your work distinc-tive and impressive.

Secondary - printed sources: Thisis where you will be investigatinginformation gathered by otherpeople in books, newspapers, mag-azines, on radio and television. Allof these sources are excellent forfinding background information,statistics, interviews, collectedresearch details and so on. Thiswill form the majority of your

research. Some of these will begenerally available (in publiclibraries for example); others suchas press releases and trade pressmay only be available through spe-cialist libraries.

Secondary - online sources: Onlinesources are also mainly secondary.You will need to be able to makecomparisons between sources ifyou intend quoting online infor-mation, and to be wary of the dif-ferences between fact and opin-ions. Don’t necessarily assumesomething is a fact because some-one on a website says it is. Somewebsites will be “official” but manywill not be, so you need to thinkabout the authority of a site whenassessing the information foundon it. The structure of a websiteaddress (URL) can indicate thesite’s origin and status, for exam-ple, .ac or .edu indicate an aca-demic or educational institution,.gov a government body, .org anon-profit organisation, .co or.com a commercial organisation.Websites sometimes disappear orshift location - make sure you canquote a URL reference for a site,and perhaps keep a note of thelast date that you checked it.

Other Media: When consideringone area of the media or one par-ticular product or type of product,it is very important that you com-pare it with others which are simi-lar. You will need to be able torefer to these comparisons insome detail so it is not enough tosimply watch a film. You will needto read a little about that film,make notes, concentrate on one ortwo scenes which seem particular-ly relevant and write all of thisinformation up so that you canrefer to it when you need to.

History and development: Havingan understanding of the historyand development of the mediatext which you are researching willprovide a firm foundation andcontext for contemporary analysis.There is a difference between gen-erally accepted facts and how the-orists use these facts.

Theory: This is the body of work ofother critics of the media. Most ofthe books and periodical articleswhich you will read for researchwill be written by theorists whoare arguing a particular viewpoint

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approaches to research

or position with regard to an issuewithin the media. It is this whichforms the debates surrounding thestudy of the media, in which you,as a media student, are nowbecoming involved.

Using Research

Organising your research: Beforerushing headlong to the locallibrary or web search engines, thefirst stage of research is to plantwo things. When are you able todo your research and how are yougoing to organise the informationgathered? You may, for example,wish to make notes under theheadings listed above.

Applying your research: Alwaysreturn to the specific questionsbeing asked of the text. The mostobvious pitfall is to gather up all ofthe collected information andthrow it at the page, hoping toscore points for quantity. The artof good research is how you use itas part of your evidence for ananalysis of the text. The knowl-edge you have acquired shouldgive you the confidence to explorethe text, offer your own argumentsand, where appropriate, to quotereferences to support this.

Listing your research: It is goodpractice, and excellent evidence ofyour wider reading, to list all refer-ences to secondary research,whether mentioned within theessay or not, at the end of yourwork.

References are usually written inthis way:

1. Len Masterman, Teaching AboutTelevision, London, Macmillan,1980.

2. Manuel Alvarado and BobFerguson, “The Curriculum, MediaStudies and Discursivity”, Screen,Vol.24, No.3, May-June 1983.

Other media texts referred to indetail should be listed, with rele-vant information such as thedirector, date of release or trans-mission, production company and,where possible, scene or episodenumber. Where you have compiledprimary research, it is useful tooffer a brief summary of this alsoat the end of your work.

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books

ANDREWS, NigelHorror films.Admiral, 1986. 95p. illus (chiefly col.)

Only covers films up to the mid-80s, using a more simplistic styleof language. Covering key motifs inhorror films diverse as THE BEASTFROM 20,000 FATHOMS to the origi-nal GODZILLA films. Greatresource for some really good stillsand an easy reference guide.

BADLEY, LindaFi l m , h o r ro r, and the body fantastic.Westport, CT; London: GreenwoodPress, 1995. 199p. filmog. bibliog.index

An informative, easy to read text,which directly relates the connec-tion between the body and horrorfilms; how gender is representedin this genre; how that representa-tion has changed and specificallythe way women’s role in horrorhas evolved. Includes two excel-lent chapters, informed by psycho-analytic/feminist film theory, onthe female gaze and a detailedlook at SILENCE OF THE LAMBS.References the milieu of horrorfilms from the originalHALLOWEEN to ALIENS.

BANSAK, Edmund G.Fearing the dark: the Val Lewtoncareer.Jefferson, NC; London: McFarland,1995. vii-ix, 571 p. illus. filmog. index.

Critical biography. Includes chap-ters on some of the directors whoworked with Lewton,including Jacques Tourneur andRobert Wise.

BERENSTEIN, RhonaAttack of the leading ladies:Gender, sexuality and spectator-ship in classic horror cinema.New York; Chichester: ColumbiaUniversity Press, 1996. ix-xvi. 271p.filmog. bibliog. index.

Focusing on the Hollywood horrorfilms of the early 1930s, this is astudy of classic horror’s terrifiedwomen, but also looks at popularculture’s assumptions about horrorand gender. In her extensive intro-duction the author outlines theareas she looks at, and separatesher arguments and investigationsinto clearly marked chapters.Never too analytical with her useof language, covers the filmsthemselves but also the encom-passing advertising of the time.Leans towards spectatorship andappropriation of the gaze in cine-matic terms. A useful text.

BLACK, AndyNecronomicon: book four.Hereford: Noir Publising, 2001. 192p.illus. index

Part four of a series of books,which look specifically at horrorand erotic cinema from a theoreti-cal perspective. Usually contain atleast 10 essays of reasonablelength, this particular edition cov-ers eclectic films such asAntonioni’s BLOW UP, SLEEPY HOL-LOW as modern Gothic and hor-ror’s stalwart David Cronenberg.

BLISS, Michael and BANKS,ChristinaWhat goes around comes around:the films of Jonathan Demme.Carbondale; Edwardsville, IL:Southern Illinois University Press,1996. ix, 176p. illus. filmog. bibliog.index.

First book-length study of Demme,includes a chapter on THE SILENCEOF THE LAMBS and an interview with the director.

BOOT, AndyFragments of fear: an illustratedhistory of British horror films.London: Creation Books, 1996. 283p.illus. filmog. index.

Attempts to cover “the wholerange of British horror movies”.Includes chapters on Hammer and also the lesser known compa-nies, Tigon and Amicus.

BORST, Robert V. BURNS, Keith.DAMS, Keith.Graven Images: the best of horror,fantasy and science-fiction filmart from the collection of Ronald V.Borst.New York: Grove Press, 1992. 240p.illus. index

Ronald V. Borst has amassed near-ly six decades worth of vintagefilm memorabilia and this book isthe first revealing of such gems asreprints of classic horror movieposters as far back as THE CABINETOF DR CALIGARI to sixties block-buster PSYCHO. With accompany-ing text written by seven leg-endary horror genre writersincluding Stephen King, CliveBarker and Robert Bloch

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general references

The Cabinet of Dr Caligari (1919)

BROTTMAN, NikitaHollywood Hex: death and destinyin the dream factory.London: Creation Books, 1998. 201p.illus. bibliog. index.

Insight and background into theproductions of Hollywood’s morenotorious horror films.

CARTMELL, Deborah et al. (eds.)Pulping fictions: consuming cul-ture across the literature/mediadivide.London; Chicago: Pluto Press, 1996.160p. index.

Heidi Kaye’s chapter on MARYSHELLEY’S FRANKENSTEIN findsBranagh’s professed feminist sym-pathies wanting and suggests thatboth the text of the film andaspects of its production privilegerelationships between men overthose between men and women orwomen and their children. KenGelder’s piece on INTERVIEW WITHTHE VAMPIRE looks at ideas ofauthorship in the field of “culturalproduction”, using, as an example,Anne Rice’s reaction to the castingof Tom Cruise as the eponymousvampire.

CETTL, RobertSerial killer cinema: an analyticalfilmography with an introduction.Jefferson, NC; London: McFarland,2003. ix, 566p. illus. bibliog. index

Putting aside any argument youmight have to exclude the serialkiller genre from the horror canon,this book is a useful referenceguide to the serial killer films.Analysis and comprehensive syn-opsis for each entry, coveringworld cinema not just Hollywood.

CHIBNALL, Steve; PETLEY, Julian(Eds)British Horror Cinema.London; New York: Routledge, 2002.xiii, 242p.;illus.notes.refs.filmog.index.

Seeks to redress the balance inlack of critical attention paid toBritish horror cinema (with theexception of Hammer horrorfilms). Contributors include MarkKermode, Kim Newman and JulianPetley (amongst others) and inves-tigates how British horror filmshave been censored and classified,criticised and received by audi-ences. The book’s contributors

consider the “Britishness” ofBritish horror films and focus onkey films and directors as well asneglected masterpieces of thegenre.

CLOVER, Carol J.Men, women and chainsaws:Gender in the modern horror film.London; British Film Institute, 1992.260p. illus. index

Methodical look at the way con-temporary horror films representthe role of women. With excellentfootnotes and references to keytexts/films it’s easy to read and isclearly well researched.

COATES, PaulThe Gorgon’s Gaze: German cine-ma, expressionism and the imageof horror.Cambridge: Cambridge UniversityPress, 1991. 287p. filmog. bibliog.index.

This text is a multifield study ofrecurring themes in German cine-ma as it has developed since theearly part of the 20th century.Focusing on perennial films of thepre and post war eras the authorexplores the nature of expression-ism and relates theories of thesublime, the uncanny and themonstrous to the subject in hand.

CREED, BarbaraThe monstrous feminine: film,feminism, psychoanalysis.London: Routledge, 1993. 182p. [24]plates. bibliog. filmog. index

Essential text on feminism in filmusing psychoanalysis and dedicat-ed to looking at the horror genre.An intricate text, split into twoparts and focusing heavily onFreud’s psychology and analysis ofthe female.

DIKA, VeraGames of terror: Halloween, Fridaythe 13th and the stalker cycle.Cranbury, NJ; London: AssociatedUniversity Presses. 1990. 153p. bibli-og. indices.

Taking a psychoanalyticalapproach to film theory and audi-ence gratification this book looksat the culture surrounding veryspecific ‘stalker’ films in the slash-er genre. It is well researched andeasy to read, collating all the films

apart from HALLOWEEN togetherand studying them in well definedchapters, choosing to focus onHALLOWEEN separately as thedefinitive example of the author’sarguments.

DONALD, JamesFantasy and the cinema.London: BFI, 1989. 298p. illus. diags.bibliog. indices

Collection of essays, groupedtogether in three distinct chapters.Easy to read, this book discusseskey motifs in the horror genre in asimple refreshing way. For a quickway to determine those key motifsconsult this book, everything iscovered from Hitchcock to the‘slasher’ genre.

DOUGLAS, DrakeHorrors!Woodstock, NY; Overlook Press, 1989.418p. illus. bibliog. filmog.

Although not including anythingfrom the last three decades this isstill an informative discussion ofhorror and its spine-tingling incar-nations by a horror writer ofextreme calibre. Broken down intosimple chapters it is a refreshingtake on horror without beingbogged down by too much analysisor interpretation.

DYSON, JeremyBright darkness: the lost art of thesupernatural horror film.London; Washington: Cassell, 1997.viii-x, 282p. [8] plates. appendix. bib-liog. index.

Dyson celebrates the supernaturalhorror film, starting with the earlysound versions of Frankenstein and Dracula. Otherchapters focus on Val Lewton’sRKO movies and werewolf films. There are extensive anddetailed analyses of JacquesTourneur’s NIGHT OF THE DEMON and Robert Wise’s THEHAUNTING, which Dyson sees asrepresenting the twin peaks of akind of film-making which wasnever again to rise to such heights.

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DURGNAT, RaymondA Mirror for England: Britishmovies from austerity to afflu-ence.Faber&Faber, 1970. 336p. plates. bibli-og. filmog. index

This essential text is an idealaccompaniment to any study ofBritish filmmaking and coverseverything from pre -WW2 films tothe Hammer horrors.

EVERMAN, WelchCult Horror Films: from The Attackof the 50 foot woman to Zombiesof Mora Tau.New York: Carol. 1993. 227p. iilus.

With a good introduction to whatqualifies as a cult horror film thisis a comprehensive guide to theworld of the cult filmmakers withentries and stills not usually foundin film texts. Covering films ofzero budget and seemingly zerotalent to cult ‘classics’ as Coppola’sDEMENTIA 13. Good source book,highly recommended.

FENTON, Harvey & FLINT, DavidTen years of terror: British horrorfilms of the 1970s.Guildford: FAB Press, 2001. 336p. illus.appendices. bibliog. index

Straightforward, chronological ref-erence guide with fantastic stillsand movie posters covering justabout every horror film made inthe 1970s with British money.Accompanying each title is a creditlist, box office information andany problems the films had withcensorship. Provides useful con-text if studying this period of cine-ma history, though the reviews arevery subjective and somewhatjuvenile.

FISCHER, Dennis Horror Film Directors 1931-1990.Jefferson, NC: McFarland, 1991. 877p.illus. bibliog. index

Well-researched, extensive refer-ence guide to horror filmmakers,almost everyone you’d imagine isincluded. Each director is looked atindividually, some of their filmsanalysed and a general discussionabout themes in their filmmakingis included. Also personal insightsinto the horror makers themselvesthat you usually only find in mag-azine interviews.

FLYNN, John L.Cinematic vampires: the livingdead on film and television, fromthe Devil’s Castle (1896) to BramStoker’s Dracula (1992).Jefferson, NC; London: McFarland,1992. 320p. illus. appendix. bibliog.index

Comprehensive guide to vampiresin every guise on television and onfilm up to 1993. More of a refer-ence guide than a study into thevampire film, each film entry hasa synopsis, brief cast list and a rat-ing system of the merits of thefilm. The appendix is good and itgives a useful overall look at thevampire genre.

FREELAND, Cynthia A.The naked and the undead: eviland the appeal of horror.Boulder, CO; Oxford: Westview, 2000.vii-xv, 320p. illus. filmog. bibliog.

This book is possibly the broadestlook at women in horror films,especially modern ones, on today’smarket. Linking the question ofgender to the notion of good andevil, it focuses specifically on femi-nist analyses of a variety of filmsincluding THE SILENCE OF THELAMBS, the ALIEN series and evenHENRY: PORTRAIT OF A SERIALKILLER. It’s never too analyticalhowever, using concepts that areclear to follow and is in fact aninteresting, entertaining book toread.

GAGNE, Paul R.The zombies that ate Pittsburgh:the films of George A. Romero.New York: Dodd, Mead & Company,1987. vii-xv, 236p. illus. [8] col. plates.filmog. index.

Definitive study of Romero, withextensive comments from thedirector himself.

GALBRAITH IV, StuartJapanese science fiction, fantasyand horror films. A critical analy-sis of 103 features released in theUS between 1950-1992.Jefferson, NC: McFarland, 1993. v-xxiii. 424p. filmog. bibliog. appendix.index.

With few good books on Japanesegenre filmmaking this is a com-prehensive guide to this field.Offering an insight into this largelyunexplored area, it is easy to read

and if you are interested in thesubject matter pretty much indis-pensable.

GIFFORD, DenisMad Doctors; monsters and mum-mies: lobby card posters fromHollywood horrors.London: Blossom, 1991. 94p. illus.

Lobby card posters from ‘classic’Hollywood horror movies. Eachreprint is accompanied with a syn-opsis and brief credit list for thefilm. Interesting for anyoneresearching movie art, advertisingor even the context of this era offilmmaking.

GOLDEN, ChristopherCut! Horror writers on horror film.New York: Berkley Books, 1992. 297p.illus

Short, interesting chapters fromhorror’s most prolific writers rang-ing from topics such as Hammerfilms to the classic scary movieTHE HAUNTING. Including essaysfrom Anne Rice and Clive Barker.

GRANT, Barry Keith (ed.)Planks of reason: essays on thehorror film.Metuchen, NJ; London: ScarecrowPress, 1984. 428p. bibliog. index.

Anthology of essays on the horrorfilm. Part I offers variousapproaches to the genre,discussing conventions, themes,literary antecedents etc. Severalessays take a psychoanalytic approach. RobinWood, for example, identifiesrepression and the figure of the “Other” as being central tomuch horror cinema. Part II focus-es on individual films and directors.

GRANT, Barry Keith The dread of difference: genderand the horror film.Austin, TX: University of Texas Press,1996. vii-xv, 456p. illus.bibliog.index

Overall a useful text for a study ofgender difference in the horrorgenre. The collection of essaysfocus more on classic horror filmsof the 1940s and 1950s, and thelater slasher movies from the1970s.

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HAINING, PeterThe Dracula scrapbook: Articles,essays, letters, newspaper cut-tings, anecdotes, illustrations,photographs and memorabiliaabout the vampire legend.London; New English Library, 1976.176p. illus.

Interesting, rarely discussed infor-mation on vampires and Draculahimself. Well researched but it isdated and this may disappointsome readers looking for the morecontemporary films.

HALBERSTAM, JudithSkin shows: gothic horror and thetechnology of monsters.Durham, NC; London: DukeUniversity Press, 1996. ix-x. 215p. bib-liog. Index.

Using a variety of approaches, butespecially feminist and queer filmtheories, Halberstam looks at monsters/monstrosity inthe modern horror film. DiscussesMary Shelley’s novel (but none of the Frankensteinfilms) as a blueprint for modernideas of the monstrous. Also looks at DRACULA, THE SILENCE OFTHE LAMBS, THE BIRDS and THETEXAS CHAIN SAWMASSACRE.

HALLIWELL, LeslieThe dead that walk.Grafton, 1986. 262p. illus. filmog.index.

A useful resource particularlyfocusing on the classic horrormovie terrors of DRACULA,FRANKENSTEIN and THE MUMMY.

detailing the storylines of thesedifferent movies. Hammer Picturesgets a mention.

HANDLING, Piers (ed.)The shape of rage: the films ofDavid Cronenberg.Toronto; New York: GeneralPublishing Co. Ltd./New YorkZoetrope Inc.: 1983. v-vii, 216p. illus.filmog. bibliog.

Collection of articles and an inter-view.

HARDY, Phil (ed.)The Aurum film encycopedia: horro r.London: Aurum Press, 1993. (Rev.ed.). vii-xiii, 496p. illus. [16] col.plates. appendices.index.

International in scope, with syn-opses and critical analysis for over2000 films. A good introductory essay provides a suc-cinct overview of the evolution ofthe genre.

HENDERSSHOT, CyndyI was a cold war monster: horrorfilms, eroticism, and the Cold Warimagination.Bowling Green, OH: Bowling GreenState University Popular Press, 2001.152p. illus. notes. bibliog. index.

This text examines the Cold Warera of filmmaking from the 1950sthrough to the mid 1960s, arguingthat the horror films of this partic-ular era provided an outlet forsociety’s anxieties of the time. Theauthor writes clearly and providesplenty of contextual examples,

relating the films to their particu-lar place in Cold War anxiety.Separated into four chapters –Eroticism and 50s horror; Evil oth-ers; Horror in the home andTeenagers, moms and other mon-sters – this text is probably all youneed to read about Cold War hor-ror films.

HOBERMAN, J. and ROSENBAUM,Jonathan Midnight movies.New York: Harper & Row, 1983. 338p.illus.

Guide to the “sub-cultural phe-nomenon” of midnight movies,which includes the films of George A. Romero, David Lynchand Tobe Hooper.

HOGAN, David J.Dark Romance: sexuality in thehorror film.Jefferson, NC; London: McFarland,1986. 334p. illus. bibliog. filmog.Index.

Excellent look at a variety of hor-ror films, focusing on the way theyrepresent sexuality and how dif-ferent sexual identities are criss-crossed throughout the genre. Amust read for anyone studying the‘traditional’ horror film, with anexcellent chapter on AlfredHitchcock.

HOLSTON, Kim R. and WINCHES-TER, TomScience fiction, fantasy and horrorfilm sequels, series and remakes:an illustrated filmography, withplot synopses and critical com-mentary.Jefferson, NC: McFarland, 1997. v-vi,601p. illus. bibliog. index.

Excellent reference source to trackdown the more elusive strands ofthe horror genre. Each entry has asynopsis, cast list and a shortenedreview pieced together by theauthors from original material. Asdiverse films as BILLY THE KID VSDRACULA to classic horror filmssuch as FRANKENSTEIN. Easy andquick guide to uncover the lineageof horror films and their counter-parts in the sci-fi/fantasy genre.

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Nosferatu (1922)

HOLTE, James CraigDracula in the dark: the Draculafilm adaptations.Westport, CT; London; GreenwoodPress, 1997. vii-xi, 161p. filmogs. bib-liogs. index.

Specifically looks at Dracula films.Good chapter on the resurrectionof this particular sub-genre byHammer Pictures in the post-waryears. Separated into six, easy tofollow chapters one in particulardevoted to the female vampirefilm which is very useful.

HUMPHRIES, ReynoldThe American horror film: anintroduction.Edinburgh: Edinburgh UniversityPress, 2002. vii, 216p.;illus.filmog.bibliog.index

An excellent introduction to thegenre which assumes no priorknowledge of the subject area.The book provides an overview ofAmerican horror film from DRACU-LA (1931) to contemporary filmssuch as SCREAM and THE SIXTHSENSE. Humphries discussesrecurring motifs in horror cinema:vampires, werewolves, mad scien-tists, living dead and “slasher”movies.

HUNTER, Jack (Ed)The bad mirror.Creation Books, 2002. 282p. illus.(Creation Cinema Collection; vol.10)

An anthology of essays exploringcult, exploitation and undergroundcinema. Many of the essays focuson the horror genre includingBritish horror cinema (Tigon andHammer period), and Italian can-nibal movies.

HUTCHINGS, PeterHammer and beyond: the Britishhorror film.Manchester: Manchester UniversityPress, 1993. 193p. [8] plates. illus.index.

Presents the British horror film inrelation to the social change ofthe country throughout the 1950s,60s and 70s. Not just concentrat-ing on the Hammer studios butargues for a broader view ofBritish filmmaking. It is wellresearched, with succinct argu-ments and is a very useful textbook. Chapter 4 - “Frankensteinand Dracula” - looks at how

changing social attitudes to patri-archy and male authority arereflected in the progression of theseven films in the HammerFrankenstein cycle whichspanned the years 1957-1973.

JAMESON, Richard TThey went thataway.San Francisco: Mercury House, 1994.380p. illus. index.

Examines the movies that havedefined their genres and thosethat have transcended standardgenre conventions. A useful chap-ter focusing on the horror genreand looking particuarly at THE FLY,TREMORS, and THE SILENCE OF THELAMBS. Also includes essays on thevampire film and Bram Stoker’sDracula.

JANCOVICH, MarkHorror.London: B.T. Batsford, 1992. 128p.illus. bibliog. index

A good general text into the back-ground of the horror genre. Usingpsychoanalysis and post-mod-ernism to look at gothic fictionthrough to the emergence of thehorror film. Specific examplesused are DR JEKYLL AND MR HIDEand FRANKENSTEIN.

JANCOVICH, MarkRational fears: American horror inthe 1950s.Manchester; New York: ManchesterUniversity Press, 1996. 324p. illus.chronol. bibliog.

Jancovich challenges the assump-tion that the 1950s were a time of“reactionary” horror film making and suggests that, in post-1960 horror, there can be tracedmany elements that surfaced in the films of this peri-od.

JANCOVICH, MarkHorror: the film reader.London; New York: Routledge, 2002.viii, 188p.; bibliog.index. (In Focus:Routledge Film Readers).

This book brings together key arti-cles to provide a comprehensiveresource for students of horrorcinema. Jancovich’s introductiontraces the development of horrorfrom THE CABINET OF DR CALIGARIto THE BLAIR WITCH PROJECT, and

outlines the main critical debates.Each section explores a centralissue of horror film by combiningclassic and recent articles, andfeatures an editor’s introductionoutlining the context of debates.

JONES, DarrylHorror: a thematic history in fic-tion and film.London: Arnold, 2002. iv, 220p.;notes.bibliog.filmog.index.

Wide-ranging and accessible criti-cal history of the horror genre,concentrating simultaneously onfiction and on film. The book alsodeals with problems in the ethicsof representation from blasphemyto film censorship and the “videonasty” debates. The book is organ-ised thematically with chapters onreligion and nationalism; scienceand technology; vampires; mad-ness and psycho-killers.

JONES, StephenIllustrated dinosaur movie guide:Introduction by Ray Harryhausen.London, Titan, 1993. 144p. illus. bibli-og. appendix. index.

Chronological look at eras of spe-cial effect filmmaking concentrat-ing on the many ‘dinosaur’ filmsover the years. Excellent illustra-tions and extracts for the majorfilms, with cast lists and synopses.

JONES, StephenCreepshows: the illustratedStephen King movie guide.(1st ed) London: Titan Books, 2001.192p.; illus. Index.

This book was published to markthe 25th anniversary of JohnCarpenter’s adaptation of CARRIE(the first film adaptation of aStephen King novel; King has sub-sequently gone on to be perhapscinema’s most adapted author).The book gives in-depth coverage,production histories and inter-views on all his films including thehorror classics THE SHINING, PETSEMETARY and GRAVEYARD SHIFT.

KERMODE, MarkThe Exorcist.London: British Film Institute, 1997.96p. illus. (BFI modern classics)

This study traces the history of thefilm, from its alleged “real life”

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inspiration, through its production, to the hystericalresponse it provoked on itsrelease. Features extensivecomments from William PeterBlatty , William Friedkin, LindaBlair and others.

KING, StephenBare Bones: conve r s ations on terro r.New English Library, 1989. 217p

In the same vein as DanseMacabre (below), only difference inthis text is that King was inter-viewed for much of the material sowe get more direct commentsfrom him. Focuses a lot on his ownwork so not that broad but stillinteresting all the same.

KING, Stephen.Danse Macabre.MacDonald, Futura, 1981. 460p. bib-lio. filmog. index.

Stephen King’s take on the wholehorror phenomenon. His own ter-rors and inspirations coupled withdiscussions on perennial classicssuch as Dracula to more recentmovies (nb publication date). Itsnot just a book on horror moviesbut the entire milieu with aninsight from a man who isarguably the best horror writer liv-ing today.

KUHN, Annette (ed.)Alien zone: cultural theory and con-t e m p o rary science fiction cinema.London; New York: Verso, 1990. vl-viii, 231p. illus. bibliog.

This collection looks at the sciencefiction film from a cultural theorypoint of view. Many of the chapters focus on ALIEN andquestions of gender and monstros-ity.

KUHN, Annette (ed)Alien zone II: the spaces of sci-ence fiction cinema.London; New York: Verso, 1999. 308p.illus. bibliog. filmog.

A further slice of analysis, but thetwo chapters on the ALIEN fran-chise that are most relevant to thisguide.

LLOYD, AnnThe films of Stephen King.London: Brown Books, 1993. 96p.illus. bibliog. index

Illustrated guide to Stephen Kingfilms up to 1991’s GOLDEN YEARSand including his earlier televisionadaptations. Though not up todate with his recent work its stillan interesting look into his filmswith a comprehensive synopsis,full credit lists and Stephen King’sown thoughts on the films. If youare interested in Stephen King andare a fan this book is a worthwhileread.

LUCANIO, PatrickThem or us: archetypal interpreta-tions of fifties alien invasion films.Bloomington, In; Indianapolis, In:Indiana Uni Press, 1987. 194p. illus.bibliog.

It is clear nowadays that sciencefiction films are a genre to them-selves but in the 1950s when hor-ror directors looked to the skies fortheir new monsters instead of theground, the issue wasn’t asstraightforward and sci-fi wasdeemed to be a sub-genre of hor-ror. This book using Jungian psy-chology in particular aims to re-examine this concept.

MANK, Gregory WilliamH o l ly wood Cauldron: thirteen horro rfilms from the genre’s golden ag e .Jefferson, NC: McFarland, 1993. vii-xxii. 404p. illus. chronology. index.

Useful chronology from 1929-1948of Hollywood horror. Looks indepth at films that are often notcovered to such an extent else-where, for example THE MASK OFFU MANCHU and THE PICTURE OFDORIAN GRAY.

MANK, Gregory WilliamKarloff and Lugosi: the story of ahaunting collaboration.Jefferson, NC: London: McFarland,1990. 372p. illus. filmogs. teleogs.theatreogs. index

A systematic look at the careersand joint films of these two giantsof the horror world. Wellresearched, easy to follow, and afascinating look at the films ofUniversal and RKO which theyshared in making.

MANK, Gregory WilliamWomen in Horror films. 1930s.McFarland, 1999. ix-xi, 403p. illus.appendix. indexWomen in Horror films. 1940s.McFarland, 1999. ix-xi, 392p. illus.appendix. index

A detailed look at 21 actressesfrom the golden age of horror filmmaking. Not so much a commen-tary on the films themselves butan insightful discovery of the starsand careers in the ‘star’ system ofHollywood. Useful as backgroundreading to the films, includesselected filmographies of the play-ers, information on the productionside of these films and a poll con-ducted by the author amongstpeople in the know to determinewho is the best Hollywood horroractress of them all.

MARRERO, Robert Vintage Monster Movies.Key West, Fl: Fantasma Books, 1993.160p. illus. filmog. index.

Useful quick reference guide tohorror films concentrating mainlyon the period 1930-1950. Alsofocuses briefly on the early silenthorror films that aren’t usuallycovered in general text books. Thelanguage is simple and straightfor-ward, accompanied with excellentblack and white stills.

.McCARTHY, John.The modern Horror Film: 50 con-temporary classics.New York: Carol, 1990. 244p illus.

As the title suggests this is areview of 50 classics of the horrorgenre, accompanying the text areexcellent illustrations from thefilms themselves. Each film istreated separately with a detailedsynopsis and production notes.Includes films not usually found intexts such as the sequels to theoriginal PSYCHO and THE LAIR OFTHE WHITE WORM.

McCARTHY, John.Movie psychos and madmen. Filmpsychopaths from Jekyll and Hydeto Hannibal Lecter.New York: Carol, 1993.

A well researched text book thatoffers a solid introduction to thisparticular topic. Contains excellentblack and white photographs, anda useful filmography of film psy-

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chos. The text isn’t over laden withanalysis but presents a straightfor-ward look at the films, alsoincludes a chapter on female filmpsychos.

MENDIK, Xavier Necronomicon presents shockingcinema of the seventies.Hereford: Noir Publishing, 2002. 228p.illus. index.

Focuses on American horror cine-ma of the 1970s. Offers analysisand theory with good use of filmsto illustrate the arguments. Mainlyconcerned with discussing howthe horror of the seventies fitted inwith the social and political cli-mate, and how it was borne out ofthings like Watergate, Vietnam,Civil Rights Movement. Provides asound overview of the wholedecade: recommended text.

NEWMAN, KimThe BFI companion to horror.London: Cassell/British FilmInstitute, 1996. 352p. illus.

A complete guide to the horrorgenre, focusing not only on thecinema, but also literature, televi-sion, radio, history and folklore.Covering classic artists such asBoris Karloff and Edgar Allen Poe,genre giants Hammer Pictures,and Alfred Hitchcock. The authoralso focuses on less expectednames making this one of themost comprehensive referencebooks around.

NEWMAN, KimNightmare movies: a critical histo-ry of the horror film, 1968 - 88.London: Bloomsbury, 1988. (New ed.).251p. illus. bibliog. index.

The nightmare movie, according toNewman, begins with NIGHT OFTHE LIVING DEAD, which hedescribes as the first horror film tobe overtly subversive. His surveytakes in all strands of horror post-1968, from Hammer to HAL-LOWEEN. Newman also allowsfilms into his “nightmare” categorythat are not strictly horror (such asAPOCALYPSE NOW) and suggeststhat, in 1988, the horror genre isstagnating and hybrids of differentgenres are taking its place.

NOLLEN, Scott AllenBoris Karloff: a critical account ofhis screen, stage, radio, TV andrecording work.Jefferson, NC; London: McFarland,1991. 473p. illus. appendices. index

Excellent biography of one of theleading men in the horror genre.The author focuses on the majorfilms Karloff was involved in mak-ing including THE MUMMY,FRANKENSTEIN and THE RAVEN,taking these films as examples ofa particular trait in horror moviesand with critical analysis offers ususeful interpretations of thesetexts. All the time he keeps inmind the unique influence ofKarloff.

ODELL, Colin The pocket essential horror films.Harpenden, Herts: Pocket Essentials,2001. 96p.

Indispensable starting point to thetheory and criticism of horrorfilms. Useful chapters definingwhat makes a horror film, histori-cal and contemporary examples ofthe “best” horror films. Featuresanalysis of the ten “best” horrorauteurs including James Whlae,Tod Browning, George A. Romeroand Wes Craven.

PAGLIA, CamilleThe birds.London: British Film Institute,1998. 104p. illus. (some col.).(BFI Film Classics).

R e a d able study of the filmwhose beak marks can be seenin such subsequent ‘natureattacks’ horrors as JAWS andP I R A N H A. Pag l i a , h oweve r,focuses on the surrealelements of thef i l m , and also,more conven-t i o n a l l y ,looks at itsc o n c e r nwith ques-tions of gen-der and the family.

PAUL, WilliamLaughing screaming: modernHollywood horror and comedy.New York: Columbia UniversityPress, 1994. 510p. [4] plates. index

A unique text looking at Americanfilms from the 1970s and 1980swhich were immensly popular atthe box office but barely toleratedby critics – the ‘gross out movie’.The author divides this phenome-non into two genres, horror andcomedy, and looks to explain thelink between the two. Focusing par-ticularly on David Cronenburg andStanley Kubrick.

PINEDO, Isobel ChristinaR e c r e ational terror: women and thepleasures of horror film view i n g .Albany, NY: State University of NewYork Press, 1997. vii-xiii, 177p. illus.bibliog. index

It’s rare to find a book thatexplores the relationship betweenthe horror genre and its femaleaudience let alone one which isn’ttoo over-analytical or intellectualwith its use of language. Clearly alabour of love for the author, thisrecently published text includesfilms such as CANDYMAN and theremake of NIGHT OF THE LIVINGDEAD. Separated into five chapters

covering; race, post-modern ele-ments to the modern hor-

ror film and womenand the slasher film.Not only does this

book look at horroraudiences but alsooffers analysis ofwomen’s roles in the

genre.

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Phantom of the Opera (1925)

PIRIE, DavidA heritage of horror: the Englishgothic cinema 1946-1972.London: Gordon Fraser, 1973. 192p. illus. filmog. index.

Over 20 years old but ground-breaking at the time and still animportant study, Pirie’s historyof the English/British horror filmtakes as its starting point theinfluence and tradition of the English gothic novelists of the late18th and early 19th centuries.Includes chapters on Terence Fisher and Hammer’sFrankenstein and Dracula films,“Sadian” movies (such as PEEPING TOM) and WITCHFINDERGENERAL director Michael Reeves.

PITTS, Michael RHorror Film Stars.Jefferson, NC: McFarland, 1991.

Focusing on the relationshipbetween the horror film and itsstars. This well researched textemphasises the symbiotic rela-tionship that is inherent in thehorror genre, highlighting the par-adox that the genre turned manyactors into stars but it is throughthe star’s popularity that the hor-ror genre gained mass audienceappeal.

QUARLES, MikeDown and Dirty: Hollywood’sexploitation filmmakers and theirmovies.Jefferson, NC: McFarland, 1993. vii-xii. 193p. illus. index.

From early exploitation films fromthe 1930s to more recent moviemaking, this is a well crafted col-lection of essays focusing specifi-cally on the movie makers them-selves. How they broke the mouldand the taboos surrounding theirfilms.

RASMUSSEN, Randy LorenChildren of the night: the sixarchetypal characters of classichorror films.Jefferson NC: McFarland, 1998. vii269p. illus. index.

A systematic look at the six arche-types of classic horror films, agood book for exploring genrecharacters and an insightful lookat earlier horror films. Easilyarranged in six chapters.

REBELLO, StephenAlfred Hitchcock and the makingof Psycho.New York: Dembner Books, 1990. vii-x, 224p. [16] plates. bibliog. index.

Exhaustively researched accountof the film. Rebello tells the wholestory from its origins in Robert Bloch’s novel (inspired byreal life killer Ed Gein), throughshooting, post-production,release and finally a look at themany films influenced by PSYCHO.

RIGBY, JonathanEnglish Gothic: a century of horrorcinema.2nd ed. Richmond, Surrey: Reynolds& Hearn Ltd. 2002. 272p. illus.sourcenotes.index.

A comprehensive guide to horrorin British cinema from the silentera up to the 1990s. The main peri-od of production, from the 1950sto the 1970s, is dealt with in detailand 100 titles have been pickedout for more in-depth analyses,which include reviews and com-mentaries. Rather than just isolat-ing the films the book discussesthem within the context of Britishfilm-making and the political andsocial climate in the country. Thesecond edition contains a sectionon horror in British television.

RIGBY, Jonathan American Gothic: sixty years ofhorror cinema.1st ed. Richmond, Surrey: Reynolds &Hearn Ltd. 2007. 321p. illus.sourcenotes.index.

An study of American horror filmsfrom 1897 to 1956. The subject isexplored chronologically and Rigbyunearths many rare silent titleswhile covering the boom period inthe 1930s in the greatest depth.100 titles have been selected formore detailed analyses, includingbrief contemporary reviews andcommentaries by personnel.Although its roots are in Europeanliterature, horror as a film genrewas born in Hollywood, hence thewealth of material means thisbook can only cover the first halfof the story.

ROBB, Brian J.Screams and nightmares: thefilms of Wes Craven.London: Titan Books, 1998. 191 p.illus. filmog. bibliog.

Covers Craven’s career from LASTHOUSE ON THE LEFT to SCREAM andSCREAM 2. Well illustrated, withplentiful comments from thedirector himself.

ROCKOFF, AdamGoing to pieces: the rise and fall ofthe slasher film, 1978 – 1986.Jefferson, NC; London: McFarland,2001. ix, 214p.illus.notes.appendix.bibliog.index.

Rockoff takes John Carpenter’sHalloween as a starting point inhis examination of the slasherfilm, arguing that the new genrebecame a pop-cultural phenome-non which, aided by unconven-tional means of distribution, exhi-bition and marketing, had a radi-cal effect on American cinema.Rockoff examines central motifsand contextualises the slashergenre by discussing the impor-tance of films such as PSYCHO andTHE TEXAS CHAINSAW MASSACREand discusses its resurgence in the1990s with films like Scream and IK N OW W H AT YOU DID LAST SUMMER.

RODLEY, Chris (ed.)Cronenberg on Cronenberg.London: Faber & Faber, 1992. (Rev.ed.). vi-xxiv, 23op. illus. filmog. bib-liog. index.

Series of interviews withCronenberg, covering his careerfrom early student films up to CRASH.

ROVIN, JeffFrom the land beyond beyond: thefilms of William O’Brien and RayHarryhausen.New York: Berkley Windover Books,1977. 272p. illus. index.

Though dated, this is a uniquebook including useful stills of thefilms of O’Brien and Harryhausen.It praises the pioneering efforts ofstop motion photography thatmade such films as JASON ANDTHE ARGONAUTS and CLASH OFTHE TITANS possible amongst hor-ror classics and discusses in detailthe legacy left by these two filmmakers.

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SEVASTAKIS, MichaelSongs of Love and Death: the clas-sical American horror film of the1930s.Westport, CT; London: GreenwoodPress, 1993. 208p. bibliog. index.

Another look at the horror fromHollywood’s golden age but thistime from the perspective of theGothic literature the films evolvedfrom. Each chapter examines indi-vidual works of Gothic literatureand cross examines them againstthe films, focusing in particular onthe hero/villain dynamic and theuse of mise-en-scene. Overall aninteresting text.

SILVER, Alain & URSINI, JamesThe Vampire Film: from Nosferatuto Interview with a Vampire.3rd edition. New York; LimelightEditions, 1997. 342p. illus. bibliog.index.

From an introduction about wherevampire lore came from, to thevery latest incarnation of it uponour screens, this is an excellenttext. Succinct chapters that aren’tover-written with too much psy-choanalysis cover a wide milieu ofvampire films. Also has an exten-sive filmography and index recom-mending different studies of vam-pires that are currently on themarket.

SKAL, David J.The Monster Show: a cultural his-tory of horror.New York: Norton, 1993. 432p. illus.index

Chronicles America’s most popularand pervasive modes of culturalexpression. America has had along love affair with the horrorgenre and this book attempts toexplain its impact on Americansocial history. A useful text.

SLATER, JayEaten alive: Italian cannibal andzombie movies.London: Plexus, 2002. 256p.illus.notes.filmog.

Focusing on the period from the1970s to the early 1990s, this bookprovides an extensive study of theItalian cannibal/zombie sub-genreof horror film. The book containsa large number of articles andreviews which seek to place thisaspect of Italian cinema within a

cultural and cinematic context.

STINE, Scott AaronThe gorehound’s guide to splatterfilms of the 1960s and 1970s.Jefferson, NC: London, 2001. v-vii,296p.; illus.appendices.index.

Essentially an A-Z of splatter filmsfrom the 1960s and 1970s whichmay in itself be of interest in orderto gauge the kind of material beingmade during this period. However,more worthy of note for the stu-dent is the history of the genre’sdevelopment which precedes themain bulk of the text. This pro-vides an historical overview of thegenre, identifying key films andstages in its development and itsimpact on the horror genre overall.

THORNHAM, Sue Feminist film theory: a reader.New York: New York University Press,1999. vi 361p. bibliog. index.

Collection of essays from the lead-ing feminist film writers of theday, including B.Ruby Rich, MaryAnn Doane and Laura Mulvey.Each chapter is separated into spe-cific topics with an introduction,excellent references and resourcesfor further exploration of the sub-ject. Contains a section devoted towomen in the horror genre and isa “must read” for anyone interest-ed in this subject.

TURNER, George E & PRICE,Michael HForgotten Horrors: The DefinitiveEdition.Baltimore; Midnight Marquee Press,1999. 288p. illus. index.

Informative look at the early hor-ror films, covering the period 1929-37. Arranged chronologically eachentry has a cast list, synopsis andincidental notes on the stars plusreproductions of the originalposters used to advertise the films.

TWITCHELL, James B.Dreadful pleasures: an anatomy ofmodern horror.New York: Oxford University Press,1985. 353p. illus. bibliog. index.

Well-written and clearly explainedstudy which looks in detail atthree mainstays of the horror film - Dracula, Frankenstein andthe Werewolf - and more broadlyat then relatively recent

incarnations of monstrosity suchas the NIGHT OF THE LIVING DEADzombies and the monster in ALIEN. Taking a psy-choanalytic approach, Twitchellsees these films as “fables of sexual identity” which serve a use-ful social function.

WAITER, StanleyDark Visions: conversations withthe masters of horror film.New York: Avon, 1992. 228p. illus.

Conversations and interviews withclassic horror stars and modernmovie makers, such as JohnCarpenter, Wes Craven and SamRaimi. Gives an interesting insightinto the minds and lives of thesemasters of the horror genre.

WALLER, Gregory A.The living and the undead: fromBram Stoker’s Dracula to Romero’sDawn of the Dead.Urbana, Ill: Chicago Ill: University ofIllinois Press, 1986. 377p. illus. index;

Vampires again but this time look-ing at the conflict between the liv-ing and the undead. It not onlydetails vampire films but focuseson other films featuring theundead such as the LIVING DEADfilms and attempts to clarify whysociety is so pre-occupied with theliving dead.

WALLER, Gregory A. (ed.)American horrors: essays on themodern American horror film.Urbana. IL; Chicago: University ofIllinois Press, 1987. 228p. illus. filmog,bibliog. index.

This collection identifies NIGHT OFTHE LIVING DEAD as the first mod-ern horror film. R.H.W. Willard’sclose reading of the film suggestsHitchcock’s THE BIRDS is its closestantecedent and identifies thefilm’s utter nihilism as the sourceof its enduring power. Otheressays look at films from thebroadest sweep of the genre’sspectrum, including THE HOWLING,DON’T LOOK NOW, ROSEMARY’SBABY and DRESSED TO KILL.

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WEAVER, James B. III and TAM-BORINI, Ron (eds.)H o r ror films: current research on audi-ence preferences and reactions.Mahwah, NJ: Lawrence ErlbaumAssociates, 1996. vii-x, 206p. figs.biogs. indices.

Various methodological and theo-retical approaches to audienceresearch are brought together in this collection ofessays, which begins with anattempt to define and categorise the genre, followed by an essaywhich traces horror’s origins backto initiation rites in ancient hunter-gatherer societies. Otheressays explore such topics as theeconomics of the horror film and the effect of watchinghorror films on social behaviour.

WEAVER, TomAttack of the monster movie mak-ers: interviews with 20 genregiants.Jefferson, NC: McFarland, 1994. vii-xi:384p iilus. filmogs. index

Twenty interviews ranging fromthe stars to the directors workingin the golden age of horror filmmaking. Interesting insight intowhat went on behind the scenesof the films that you don’t get withgeneral texts on the subject. Niceaccompaniment to a subject.

WEAVER, TomPoverty row horror! Monogram,PRC and Republic horror films ofthe 40s.Jefferson, NC: McFarland, 1993. 376p.illus. filmogs. index.

A useful text which examineswhat it was about these studiosand the films that they producedwhich meant they were ignored bycritics of the time but adored bythe horror loving filmgoers. With agood introductory chapter.

WILLIAMS, TonyHearths of darkness: the family inthe American horror film.London: Associated UniversityPresses, 1996. 320p. bibliog. index.

Williams argues that the place ofthe family is central in theAmerican horror film. His studytakes in Universal horror films ofthe 1930s, Val Lewton’s RKO B-movies and Hitchcock’sTHE BIRDS and PSYCHO. He looks

at 70s horror, particularly the filmsof Larry Cohen, Wes Craven, George A. Romero andBrian De Palma. The closing chap-ters look at Stephen King adaptations and 90s horror includ-ing THE SILENCE OF THE LAMBS andMANHUNTER.

WOLF, LeonardHorror – a connoisseur’s guide toliterature and film.New York; Oxford: Facts on File, 1989.262p. illus. bibliog. index.

This text is an efficient ency-clopaedia on horror films rangingfrom the very best of the genre tothe most banal. Each entry has itsown review which is more analyti-cal than in some other texts onthe subject.

WOOD, RobinHollywood from Vietnam toReagan.New York; Guildford, Surrey:Columbia University Press, 1986.328p. illus. bibliog. index

Written from what some mightcall a radical political viewpoint,this outspoken book reviews thetransition in American film fromthe 1970s to the 1980s. Through amixture of Marxist, feminist andpsychoanalytical film theory thebook contains several previouslyinaccessible essays on the horrorgenre by one of the most out-standing film theorists of today.

WRIGHT, Bruce LanierNightwalkers: gothic horrormovies - the modern era.Dallas, TX: Taylor PublishingCompany, 1995. 171p. illus. bibliog.index.

S t u dy of British and A m e r i c a n“gothic” horror films, which takesas its starting point Hammer’s THECURSE OF FRANKENSTEIN. Chapter10 - “Epilogue - The End of Horror?”- charts the demise ofH a m m e r, the rise ofslasher movies and thefew attempts at cine-matic gothic horro rp o s t - 1 9 7 6 , i n c l u d i n gM A RY SHELLEY’SF R A N K E N S T E I N, B R A MSTOKER’S DRACULA andI N T E RVIEW WITH T H EVAMPIRE.

journal articles

CINEFANTASTIQUEVol.36. No.4. Oct/Nov 2002

Top 25 list of horrors top ‘kings’ –not as sexist as you’d think, for inthe past the horror genre’s ‘screamqueens’ have received a lot of col-umn space. This article tries toredress that balance somewhat.Starts with Vincent Price in the topspot, and includes detailed profilesof Bruce Campbell, Boris Karloffand Kane Hodder. A short careerprofile accompanies all 25 entries.

SPECTATOR Vol.22. No.2. Autumn 2002

Axes to grind: re-imagining thehorrific in visual media, (ed)Harmony Wu

Whole issue dedicated to examin-ing the horror genre now film the-ory and visual media itself hasmoved on. Some essays are easierto read than others, all are con-cerned with re-imagining the hor-rific in our visual media and cul-ture. Films examined include THEBLAIR WITCH PROJECT, HisayasuSato’s NAKED BLOOD, as well as thesubject matter of vampires, inter-active horror computer games, andZombie films from the mid-west-ern states of America.

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Psycho (1960)

JOURNAL OF POPULAR FILM ANDTELEVISIONVol.29 No2. Summer 2001, p63-73

Final girls and terrible youth:transgression in 1980s slasherhorror, by Sarah Trencansky

Excellent article concerned withhow gender is represented in theslasher films popular in the 1980s.It examines how typical genderroles are transgressed andreversed in these films, affording amore powerful role for the femalecharacters to embody and forfemale spectators to identify with.Focusing on the NIGHTMARE ONELM STREET series, but drawing onevidence from other films in thatgenre such as HELLRAISER and FRI-

DAY THE 13TH. Finishes with abrief discussion of the differencebetween the ‘Final Girls’ of 1980sslasher films to the ones in the1990s such as SCREAM and I STILLKNOW WHAT YOU DID LAST SUM-MER.

SIGHT AND SOUNDVol.8. No.7. July 1998, pp.6-11

Lucifer Rising, by Mark Kermode

On the 25th anniversary re-issueof THE EXORCIST this article dis-cusses the public reaction to the original release, the historyof the screenplay, issues of censor-ship, the filming and the new documentary THE FEAR OFGOD made about the film.

FILM COMMENTVol.32.No.4. July/Aug 1996, pp.76-79

PSYCHO: Not Guilty As Charged,by James Griffith

Previous theoretical criticism ofPSYCHO has suggested that theviewer identifies with the character of Norman Batesthrough point-of-view shots andthus becomes complicit in, and obtains release through, hiscrimes. Griffith puts forward thetheory that the audience does not automatically identify with acharacter through p.o.v. shots asthroughout PSYCHO thereare so many such shots from avariety of different characters aswell as close ups of characters at highly dramaticmoments, creating a far morecomplex process of identification.

LITERATURE FILM QUARTERLYVol.24. No.2. 1996, pp.193-200

Coveting The Feminine: VictorFrankenstein, Norman Bates andBuffalo Bill, by Diane Negra

Heavily theoretical article whichexamines the similarities betweenVictor Frankenstein in Mary Shelley’s novel and the char-acters of Norman Bates in PSYCHOand Buffalo Bill in THE SILENCE OFTHE LAMBS. The premise is thatthe “monstrous” often involvescrossing gender boundaries andthat psycho-sexual development isarrested by childhood trauma.

INDEX ON CENSORSHIPVol.24. No.6. 1995, pp.59-68

Horror: On the edge of Taste.Horror films present the censorwith a problem: how to make‘acceptable’ a genre that dealswith the ‘unspeakable’,by Mark Kermode

Discusses the problem censorsencounter with horror films andthe films cut or banned by theBritish Board of Film Classification(BBFC). Article also mentions thephenomenon of ‘video nasties’ andhow horror videos are perceived insociety. Analyses the films theBBFC have cut, including THE EVILDEAD.

PREMIEREVol.9. No.2. October 1995, pp.88-101

In The Grip of JAWS, by NancyGriffin

On the 20th anniversary of therelease of JAWS Steven Spielberg,Richard Dreyfuss and others involved in the making ofthe film talk about their experi-ences on the shoot.

EMPIRENo.73. July 1995, pp.78-85

Raiders Of The Lost Shark, byMark Salisbury and lan Nathan

Comments on the book, screen-play, casting, the shark and thereaction to JAWS from the writers and film-makers. Includesten useful facts about the film, alist of films inspired by it and a description of the twelvemost effective scenes.

SIGHT AND SOUNDVol.5. No.1. January 1995, pp.8-11

Bloody Tales, by Amy Taubin

A discussion on the power of theimage of blood in modern horrorfilms. Taubin links the modern pre-occupation with bloodand gore in entertainment withthe spread of AIDS.INTERVIEW WITH THE VAMPIRE iscompared unfavourably with THEADDICTION and NADJA which areseen as more accomplished, andless bloody, AIDS-anxiety fan-tasies.

SIGHT AND SOUNDVol.4. No.12. Dec 1994, pp.14-17

Learning To Scream, by LindaWilliams

An account of the audience reac-tion to PSYCHO when it wasreleased in 1960, describing theattendant marketing gimmicksincluding three trailers and atraining film aimed at coachingcinema managers in showing thefilm and policing the audience.This article is illustrated with stillsof the audience both before andduring the watching of the filmwhich are used as evidence thatthe power to shock in PSYCHO liesin its destabilisation of genderroles.

SIGHT AND SOUNDVol.3. No.6. June 1993, pp.6-8

Terror Master: From THE HOWL-ING to his new film MATINEE, JoeDante has explored horror. Hetalks about fear, special effectsand THE MUMMY to MarkKermode.

Interview with Joe Dante, whotalks about the history of the hor-ror film, its development, its posi-tion worldwide and the connectionbetween horror and reality.Includes a filmography of Dante’sfilms.

SIGHT AND SOUNDVol.3. No.6. June 1993, pp.10-12

Ghoul School: is the horror genrenow exhausted? Mark Kermodetalks to some of its creators.

Article discusses various aspectsof horror films with different

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directors and writers of horror.Interviewees include Wes Cravenand Clive Barker.

JOURNAL OF POPULAR FILM Vol.19. No.3. Fall 1991, pp.106-113

The Transvestite As Monster:Gender Horror In THE SILENCE OFTHE LAMBS and PSYCHO, by Julie Tharp

Examines the similarities betweenPSYCHO and THE SILENCE OF THELAMBS especially in their construc-tion of sex and gender, homosexu-ality and transvestism. The authorexplores the characterisation ofHannibal Lecter in depth, arguingthat it goes against the usual psychological portrait of a killer inmodern fiction.LITERATURE FILM QUARTERLYVol.4. No.3. Summer 1976, pp.196-214

THE EXORCIST and JAWS, byStephen E. Bowles

Two-part article comparing THEEXORCIST with JAWS. The first partidentifies the various cinematictechniques used to evoke horror inboth films particularly the use ofsound, examines their realism andplaces them in the context of thehistory of the genre. The secondpart concentrates on the adapta-tion of novel to screen especiallythose elments which have beenchanged in order to generate sus-pense in the films. The authorargues that characterisations andhuman relationships have beensacrificed to suspense resulting ina lack of morality.

SCREEN INTERNATIONAL 3 January 1976, p.5

JAWS From A Different View, byDr. Dennis Friedman

A psychological explanation forthe success of JAWS with cinema-goers, arguing that on an unconscious level we identify withthe shark and through it vent ourprimal urges. The film is also presented as an “oral” text;from its single syllable title to itsemphasis on greed as a human weakness unconsciouslysatisfied by the uncontrollableshark.

Alien TrilogySTARBURSTNo. 207 November 2000,pp.36-43

Starbeast to resurrection:the ALIEN saga, by HowardMaxford

A complete detailedoverview of how the ALIENsaga came in to being, thepeople behind the scenesfrom the money men to thecrew. Excellent material forproviding context and insight toaccompany more serious study.Incudes budget, special effects andbox office information.

METRO No.116. 1998, pp.30-35

Ambiguity, Perversity and AlienResurrection, by Colleen Keane

A discussion of ambiguity, ambiva-lence and perversity in the fourALIEN films, most notably AlienResurrection. Quite a detailed arti-cle, but worth persevering with.

POSTSCRIPTVol.16 No.3. Summer 1997, pp.36-50

Some Horrible Dream About(S)mothering Sexuality, genderand family in the ALIEN trilogy, byChad Hermann

Unlike critic Barbara Creed,Hermann sees the film ALIEN as aparable of paternity, not maternity,and masculine anxieties aboutbecoming a mother. From thisbase, however, Alien develops fromthe theme of phallic menace torepresent the fear of the powerfulevil mother. Through discussion ofall three films, Hermann showshow the trilogy centres aroundgender, sexuality and the family. Inthe end it is technology and theCompany which endures and sur-vives at the expense of the con-cept/reality of the family and allthose who play a biological partwithin it.

SIGHT AND SOUNDVol.7 No.12. December 1997, pp.6-9

Born Again, by Michael Eaton

Brief analysis of the first threefilms then a detailed look intoAlien Resurrection. Examines themain concepts and ideas behindthe film, and offers the analysisthat in order to remake itself, thefranchise has to plunder severaldifferent genres each time around.In Alien Resurrection’s case, thetheme of genetic modification andalien abduction are key.

FILM and PHILOSOPHYVol.3. 1996 pp. 167-175

Changing perspectives of mother-hood: images from the Aliens tril-ogy, by Valerie Gray Hardcastle

Starts of with a handful of quotesfrom critics on discussions of theRipley character which is useful initself, goes on to discuss the widerimplications of the changing char-acter and its implications for thefeminist/motherhood dynamic.

FOCUS MAGAZINENo.14. 1994, pp.7-17

Containing Horror. The ALIEN trilogy and the Abject, by JosephChien

Chien argues that the figure of theAlien is aligned in its form withmany former fear-inspiring mon-sters. The horror also derives fromboth the Alien being seen as a pos-sible preview of humanity’s futureand as a creature that may

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CASE STUDIES

become human. The article thencentres on exploring what Kristevahas termed the ‘abject’, which isidentified in the film as femaleand also the breakdown of identityand order.

SIGHT & SOUNDVol.2 No.3. July 1992, pp.8-10

Invading Bodies. ALIEN? and thetrilogy, by Amy Taubin

Discussing how Ripley’s maternalinstincts develop through the film,Taubin sees the films as represen-tations of various social anxietiesincluding feminism, female fecun-dity, homosexuality and AIDS.While the films focus on thethemes of sexual identity, the fam-ily and the role of the mother,Taubin argues that the ambiva-lence Ripley feels for the aliengrowing inside her, demonstrates aparticularly complicated emotionwhich is movingly portrayed at theend of ALIEN?.

CINEACTION!No.30. Winter 1992, pp.54-62

Explosions, Prosthetics andSacrifice. Phantasies of theMaternal Body in the ALIENtrilogy, by Carol Moore and GeoffMiles.

Using the analysis of Klein, a psy-choanalytic writer, the authors dis-cuss the ALIEN trilogy in 3 partsseeing them as three representa-tions of infantile phantasies of themother’s body. The first filmexpresses the infant’s internalexploration of the mother, the sec-ond, the notion of the combinedparents and the ‘phallic’ mother,and the third film, maternal sacri-fice and death.

Dracula books

COPPOLA, Francis Ford and HART,James V.Bram Stoker’s Dracula: the filmand the legend.London; Basingstoke: Pan Books,1992. 172p. illus. bibliog. filmog.

Very similar format to the book ofBranagh’s MARY SHELLEY’SFRANKENSTEIN, ie includesscreenplay, details on set designetc. Coppola’s introduction, likeBranagh’s, puts the case for afaithful adaptation of Stoker’snovel but, at the same time, triesto justify the film’s major depar-tures from the original text.

LEWIS, JonWhom God wishes to destroy:Francis Coppola and the newHollywood.Durham, NC; London: 1995. ix.194p. illus. index.

Looks at the director’s careerfrom an institutional point ofview, considering Coppola as anauteur working within and with-out the major Hollywood studios.Charts the rise and fall ofZoetrope Studios, Coppola’s grad-ual reemergence as a directorwith box-office clout and the suc-cess of BRAM STOKER’S DRACULA.

Argues that Coppola hoped MARYSHELLEY’S FRANKENSTEIN wouldbe a big hit, thus giving him asufficiently strong position in theindustry to establish more controlover the production, exhibitionand distribution of his own films.

journal articles

STARBURSTNo.175. March 1993, pp.26-29

Francis Ford Coppola on DRACULA.Part 1 of 2 part interview withFrancis Ford Coppola, by MarkBermann.

Coppola talks about his interest inthe story of Dracula, horror filmsand the importance of visual style. He discusses thepower of fantasies and the por-

trayal of female sexuality in the film, both of which he sees as rele-vant to the 1990’s.

STARBURSTNo.176. April 1993, pp.36-39

Francis Ford Coppola on DRACULA.Part 2. Interview with Francis FordCoppola, by Mark Bermann.

Coppola continues his interviewwith discussions about the charac-ter of Van Helsing, the portrayal of Dracula as evil andalso romantic, and the presenta-tion of Dracula’s vampirebrides. He concludes by arguingthat major studios want ordinaryfilms but that he is always attracted to the exotic.

LITERATURE/FILM QUARTERLYVol.18. No.2. 1990, pp.116 -121

DRACULA and Mephistopheles:Shyster Vampires, by WilliamThomas McBride

McBride argues that the portrayalof Dracula in Tod Browning’s 1931version, is partially informed byanti-Semitism which fed the vam-pire myth. Focusing on Dracula’sappearance and concern with legalcontracts, the article highlights thealignment of Dracula with the association, in Western literature,of Jew, lawyer and bloodsucker.McBridge continues to show howthe Dracula myth is connected toShylock, Fagin andMephistopheles, and is forced toserve as scapegoat within a pro-Christian context.

PHOTON No.27. 1976, pp.22-35

Horror of Dracula. An Analysis ofthe Hammer film classic, byRonald V Borst

Borst explains in great detail thework of key individuals behind theHammer films and the processinvolved in producing Dracula (inUS - Horror of Dracula). The articlediscusses the portrayal and char-acter of Dracula, Jimmy Sangster’sscript, Terence Fisher’s directionand his revisions. After providingdetails of the shooting schedule,the film’s marketing and release,Borst outlines the film’s initialreception in England and the US.He concludes that

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none of Hammer’s subsequenthorror films has endured and thatDracula is a modern classic of its genre.

Frankenstein

books

BRANAGH, KennethBeginning.London: Chatto and Windus, 1989.244p. illus.

Autobiography. Covers Branagh’slife and career up to and includ-ing the production of the filmHENRY V.

BRANAGH, Kenneth, LADY, Stephand DARABONT, FrankMary Shelley’s Frankenstein: theclassic tale of terror reborn onfilm.New York, NY: Newmarket Press,1994. 191p. illus. credits. filmog.bibliog.

Includes screenplay and produc-tion details, with particular atten-tion paid to the design, cine-matography, score, costumes andmake up. There are also profilesof the leading actors with reasonsfor their casting.

In the introduction, Branaghexplains why he wanted to makea faithful screen adaptation ofMary Shelley’s novel, and alsowhy he introduced significantchanges.

CARTMELL, Deborah et al. (eds.)Pulping fictions: consuming cul-ture across the literature/mediadivide.London; Chicago: Pluto Press, 1996.160p. index.

Includes essays on MARY SHEL-LEY’S FRANKENSTEIN andBranagh’s HENRY V. In the for-mer, Heidi Kaye finds Branagh’sprofessed feminist sympathieswanting and suggests that boththe text of the film and aspects ofits production privilege relation-ships between men over thosebetween men and women orwomen and their children.

DOUGAN, AndyUntouchable: Robert De Nirounauthorised.London: Virgin Books, 1996. v. 312p.[16] plates. filmog. bibliog. index.

Includes information on the mak-ing of MARY SHELLEY’S FRANKEN-STEIN, with comments fromKenneth Branagh, HelenaBonham-Carter and others.

GATISS, MarkJames Whale: a biography, or thewould-be gentleman.London; New York: Cassell, 1995. vi.182p. [8] plates. appendix. bibliog.index.

Looks at FRANKENSTEIN and THEBRIDE OF FRANKENSTEIN, highlight-ing their religious and sexual sub-texts. Concentrates on Whale’sinput but also pays attention tothe studio’s contribution, cutsmade by the censors and com-ments from the actors.

GLUT, Donald F.The Frankenstein legend: a tributeto Mary Shelley and Boris Karloff.Metuchen, NJ: Scarecrow Press,1973. 372p. illus. index.

Exhaustive chronicle, beginningwith the original novel anddetailing theatre, film, radio, liter-ary and comic-book adaptations.Individual chapters on theUniversal and Hammer versions.

GLUT, Donald F.The Frankenstein Catalog.Jefferson, NC; London: McFarland,1984. 525p. illus. bibliog. filmog.teleog.

Exhaustive reference guide to allthings ‘Frankenstein’. An easy tofollow, detailed catalogue withover 2500 entries.

IACCINO, James F.Psychological reflections on cine-matic terror: Jungian archetypesin horror films.Westport, CT; London: Praeger, 1994.217p. appendices. bibliog. index

Iaccino sees Frankenstein asembodying the Jungian alchemistarchetype, that is, one who candiscover the divine essence inbase material but in doing soruns the risk of unleashing thedark “shadow side” from hisunconscious. Films discussedinclude FRANKENSTEIN CREATEDWOMAN, FRANKENSTEIN AND THEMONSTER FROM HELL, FRANKEN-STEIN: THE TRUE STORY andFRANKENSTEIN UNBOUND.

JONES, StephenThe illustrated Frankensteinmovie guide.London: Titan Books, 1994. 143p.illus. index. bibliog. (Titan illustrat-ed movie guide; no.3)

Decade by decade listing ofFrankenstein and Frankensteininfluenced films, including somewith a fairly tenuous connection.Includes profiles of TerenceFisher, Boris Karloff and ColinClive amongst others.

PARKER, JohnDe Niro.London: Victor Gollancz, 1995. 255p.[16] plates. filmog. index.

Biography which includes infor-mation on the making of MARYSHELLEY’S FRANKENSTEIN, includ-ing comments from KennethBranagh and press reactions.

SHUTTLEWORTH, IanKen and Em: a biography ofKenneth Branagh and EmmaThompson.Chatham: Headline, 1994. 248p. [16]plates.

Covers Branagh’s acting and filmcareer, including MARY SHELLEY’S

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Dracula (1958)

FRANKENSTEIN. ConsidersBranagh’s place in the British filmindustry, his approach to filmmaking , including raisingfinance, casting and his role asactor/director.

TROPP, MartinMary Shelley’s monster: the storyof Frankenstein.Boston, MA: Houghton Mifflin, 1976.192p. plates. bibliog. filmog. index.

Critical history of the novel andsubsequent adaptations, includingthe Universal and HammerFrankenstein films, US televisionversions and YOUNG FRANKEN-STEIN.

TWITCHELL, James B.Dreadful pleasures: an anatomy ofmodern horror.New York: Oxford University Press,1985. 353p. illus. bibliog. index.

Using a psychoanalytic approach,Twitchell looks in detail at thesexual subtexts (including bisexu-ality and incest) in Shelley’s noveland how, in subsequent filmadaptations, these becomeincreasingly foregrounded. Filmsdiscussed include THE BRIDE OFFRANKENSTEIN, FRANKENSTEINCREATED WOMAN, YOUNGFRANKENSTEIN and THE ROCKYHORROR PICTURE SHOW.

URSINI, James and Alain SilverMore things than are dreamt of:masterpieces of supernatural hor-ror from Mary Shelley to StephenKing - in literature and film.New York, NY: Limelight, 1994. 196p.illus. filmog. bibliog. index.

A useful survey which looks atselected “classics” of supernatu-ral/horror literature and the film adaptations thereof. Proceedschronologically, beginning withMary Shelley and the lesser known works of BramStoker, takes in Poe and Lovecraft,R.L. Stevenson, Oscar Wilde, Arthur Machen and theghost stories of the two Jameses,M.R. and Henry. The final chapter focuses on modern horrorincluding a look at DavidCronenberg’s version of Stephen King’s THE DEAD ZONE and RobertWise’s film of Shirley Jackson’sTHE HAUNTING [of Hill House].

Chapter 1 - “The Prometheans” -

provides an overview of filmsfrom the Frankenstein stable,beginning with a discussion ofthe original novel. Compares theyoung, doubting Frankenstein ofthe novel and Universal films toPeter Cushing’ s older, ruthlesscharacter in the Hammer cycle.Also discusses Roger Corman’sFRANKENSTEIN UNBOUND and MelBrooks’ YOUNG FRANKENSTEIN.

WRIGHT, Bruce LanierNightwalkers: gothic horrormovies - the modern era.Dallas, TX: Taylor PublishingCompany, 1995. 171p. illus. bibliog.index.

Study of British and American“gothic” horror films, which takesas its starting point Hammer’sTHE CURSE OF FRANKENSTEIN.Chapter 10 - “Epilogue - The Endof Horror?” - charts the demise ofHammer, the rise of slashermovies and the few attempts atcinematic gothic horror post-1976, including MARY SHELLEY’SFRANKENSTEIN, BRAM STOKER’SDRACULA and INTERVIEW WITHTHE VAMPIRE.

journal articles

FILM COMMENTVol.31. No.1. Jan/Feb 1995, pp.17-29

Really a Part Of Me. Shelley andStoker conjured up bodies andpictures. In movies, the body iscommonplace; but for thoseauthors it was a divine mysterystill, by David Thomson

A n a lysis of M A RY SHELLEY’SF R A N K E N S T E I N, I N T E RV I E WWITH THE VAMPIRE and JUNIOR,focusing on the theme ofi m m o r t a l i t y, c reation andyouth in the films. The articleincludes comparisons ofM A RY SHELLEY’S FRANKEN-STEIN with FRANKENSTEIN, the1931 film version of the novel.

A M E R I CAN CINEMATO G R A P H E RVo l . 7 5 . N o. 1 2 . Dec 1994, p p. 3 4 - 3 8 , 4 0

New Look for Classic Creature.Transforming Robert DeNiro intoMary Shelley’s mythical monster,by Ron Magid

Daniel Parker, makeupartist, talks about his work

in transforming Robert De Niro inMARY SHELLEY’S FRANKENSTEIN.The article refers to monsters inother film versons of Shelley’snovel and how Branagh’s creaturediffers in its character.

AMERICAN CINEMATOGRAPHERVo l . 7 5 . N o. 1 2 . Dec 1994, p p. 4 2 , 4 4 , 4 6 , 4 8

CFC’s Effects Give Life to MARYSHELLEY’S FRANKENSTEIN.Computer Film Company usedmodern methods to invigorateKenneth Branagh’s reinvention ofclassic horror tale, by Ron Magid

Article discusses digital imagingused in various scenes in the film,including the scene bringing themonster to life. Former film ver-sions of Shelley’s novel are brieflydiscussed, as is the theme of thepower of inanimate objects preva-lent in Branagh’s version.

CINEFANTASTIQUEVol.25. No.6/vol. 26 no.6 Dec 1994/Jan1995, pp.6-9

MARY SHELLEY’S FRANKENSTEIN,by Alan Jones

Article on Kenneth Branagh’sMARY SHELLEY’S FRANKENSTEIN incomparison with otherFrankenstein adaptations.

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Frankenstein (1931)

EMPIRENo.66. December 1994, pp.98-100,103, 105, 107, 109

Mission Accomplished? by BarryMcIlheney

Interview with Branagh, discussinghis adaptation of Shelley’s noveland its relevance to today’s audi-ence. Discusses other Gothicfilms, working with Robert De Niroand living in the public eye.

REDEEMERVol.1. No.2. 1993, pp.35-37

Franks for the Memory. From evo-lution’s waste bin, Frankensteinplayed God and created a loose-limbed air-head, by Marcelle Perks.

Perks discusses the nature of mon-sters in horror films and how theappearance of the Monster inFRANKENSTEIN (1931), was influ-enced by monsters in former silentfilms. The article examines thehistory of the film adaptations ofFrankenstein and how multi-mon-ster movies developed over thedecades and sometimes includedDracula. Commenting on how thefilms always depict amateurishlaboratories, anticipating that allexperiments will be doomed tofailure, the author argues that arequisite to the Frankenstein mythis the Baron’s idealism, the opposi-tion of the monster and yet alsoan enduring connection betweencreator and creation.

MONTHLY FILM BULLETINVol.41. No.490. Nov 1974, pp.250-251

FRANKENSTEIN: The True Story

Article contains full credits, synop-sis and review of the 1973 film.

Review concentrates on the waythis adaptation emphasises thesimilarity between Frankensteinand the creature, and how it re-interprets former film versions ofthe novel.

NATIONAL FILM THEATRE PROGRAMMESAugust 1994 pp.22-23

Walking shadows: KennethBranagh. Kenneth Branagh, morethan anyone else in the last 10years, has succeeded in uniting

Shakespeare and the screen, byOlwen Terris

Details of a short season, starringKenneth Branagh in Shakespearerelated productions for film andtelevision. Brief profile on theactor and his appeal.

PREMIEREVol.3. No.11. December 1995, pp.70-74

“F*** This...” Kenneth Branaghreturns defiant after the multi-million dollar debacle of MARYSHELLEY’S FRANKENSTEIN, tomake his lightest film sincePETER’S FRIENDS, IN THE BLEAKMIDWINTER, by John Naughton

Profile of Kenneth Branagh, pro-viding details of his career. Talksaboout the disappointing receptionof MARY SHELLEY’S FRANKENSTEIN,his admiration for Shakespeareand his new film.

SCREEN INTERNATIONALNo. 982 November 4th 1994, p.24

Renaissance Man. As MARY SHEL-LEY’S FRANKENSTEIN comes tolife on both sides of the Atlantic,Ana Maria Bahiana talks toKenneth Branagh about his latestprogeny and his future plans.

Branagh in interview, talks aboutthe differences between MARYSHELLEY’S FRANKENSTEIN andformer film adaptations ofShelley’s novel, and the decision toavoid the schlock horror and melo-drama of other films. Alsoincludes discussion of Branagh asan actor and director.

SCREEN INTERNATIONALNo. 982 November 4th 1994, pp.28, 32

Gothic Creation. MARY SHELLEY’SFRANKENSTEIN was the naturalfilm for Francis Ford Coppola’sproduction outfit, AmericanZoetrope, to make following BramStoker’s Dracula. Bob Jacquesdescribes the genesis of the film.

Francis Ford Coppola discusseshow MARY SHELLEY’S FRANKEN-STEIN came to be produced and itssimilarity to Coppola’s version ofDracula. Branagh talks about hisadaptation, its loyalty to the textand former interpretations of thenovel in the horror canon.

SCREEN INTERNATIONALNo. 982. November 4th 1994, p.34

Creature Feature. VictorFrankenstein’s creature consists ofa complex blend of prostheticsand make-up, prepared by one ofthe largest specialist teams everassembled outside the US. BobJacques reports.

Article on the make-up used tocreate the monster/creature andits difference from formerFrankenstein monsters depictedon the screen.

SIGHT AND SOUNDVol.4. No.11. November 1994, pp.6-9

Making Frankenstein and theMonster. The make-up artist andthe set designer on the look ofKenneth Branagh’s film.

Make up artist Daniel Parker, talksto Mark Kermode about the cre-ation of the monster in the film;and set designer Tim Harvey dis-cusses the visual appearance ofthe film with Pat Kirkham.

SIGHT AND SOUNDVol.4. No.12. December 1994, pp.51-52

MARY SHELLEY’S FRANKENSTEIN

Article contains full credits, synop-sis and review of the film. Reviewfocuses on the horror aspect of thefilm and points to the presence ofmodern and updated themes.

SIGHT AND SOUNDVol.3. No.9 September 1993, pp.16-19

The Importance of Being Ordinary:Equally at home in Hollywood aswith the classics, KennethBranagh speaks for modern mid-dle England, by Alison Light

Profile of Kenneth Branagh, con-trasting his work with LaurenceOlivier’s and discussing his atti-tude to culture and the politics ofhis appeal.

STARBURSTNo.32. 1981, pp.51-54

The FRANKENSTEIN Chronicles.Part 1, by Phil Edwards.

The first part of a four part series,Phil Edwards looks back at the first

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of the Boris Karloff FRANKENSTEINfilms, made in 1931 for Universal.Later installments will examineBRIDE OF FRANKENSTEIN (1935) andSON OF FRANKENSTEIN (1937).

The articles examines the originsof the filmed adaptations ofFrankenstein and how BorisKarloff was chosen to play the partof the monster. Edwards then dis-cusses the creation of the appear-ance of the monster, the famouselimination of a particular scene,the differences of the film to MaryShelley’s book and finally theenormous popularity of the film.

STARBURSTNo.33. 1981, pp.40-43

The FRANKENSTEIN Chronicles,Part II. BRIDE OF FRANKENSTEIN,by Phil Edwards

Edwards explains how the sequelto FRANKENSTEIN - BRIDE OFFRANKENSTEIN - came to be pro-duced, the development of thestory and the nature of JamesWhale’s direction. Although thefilm was not well received critical-ly in England, it proved very suc-cessful at the box office.

STARBURSTNo.34. 1981, pp.38-41

The FRANKENSTEIN Chronicles.Part III. SON OF FRANKENSTEIN, byPhil Edwards

The articles discusses how thefilm came to be made, the scriptand the choice of director. Alsoexamines the character of Ygorplayed by Bela Lugosi. ThoughBoris Karloff later noted that theFrankenstein stories had run theircourse, and the film departs frommany of the trademarks of theoriginal two films, SON OFFRANKENSTEIN was well receivedby press and public and triggeredthe 40s horror boom.

STARBURSTNo.67. March 1984, pp.30-32

The FRANKENSTEIN Chronicles.Part IV, by Phil Edwards

The article charts the additionalFrankenstein films produced byUniversal Pictures. With details ofGHOST OF FRANKENSTEIN,FRANKENSTEIN MEETS THE WOLF-

MAN and HOUSE OFFRANKENSTEIN,Edwards comments that in thefirst of these Lon Chaney Jnr asthe monster failed to matchKarloff’s performance and the sec-ond film relegated the series to Bprogamme status.

MAKING FILMS IN NEW YORKVol.9. No.3. 1975, pp30-35

The unending pursuit ofFRANKENSTEIN and DRACULA. 70years of blood and horror for funand profit, by Art Ross

Ross details the beginning of theFrankenstein myth, early film ver-sions of the story and the 1931classic. Praising Karloff’s portrayalof the monster, he contrasts theUniversal films with the Hammerversions and outlines his views ofthe relevance of the myth today.The article also details the originsof the Dracula myth and its filmicrepresentations, and includesMurneau’s NOSFERATU (1921) andUniversal’s DRACULA (1931). SeeingBela Lugosi’s Dracula as the defini-tive portrayal, Ross examines otherDracula adaptations up to the1970’s. He argues that both mythsprovide film with some of its mostmagical and appropriate material.

REAR WINDOWNo.5. Spring 1975, pp.11-15

Angel, by T Leo French.

In an article concentrating on thework of Terence Fisher, Frenchasserts Fisher was more interestedin Frankenstein than in Dracula.French analyses the Hammerfilms, often via particular shots todemonstrate the influence ofWelles and Hitchcock on the direc-tor and also his own particularstyle of horror. A development inthe series is the appearance of aJunior Frankenstein whose love forAngel, a nurse, leads him to recog-nize Frankenstein’s insanity andredirect the themes of the filmsonto new ground.

CLASSIC FILM COLLECTORNo.47. Summer 1975, pp.8-9, 58

A look at Universal’s horror filmsof the 30s (part 6), Bride ofFrankenstein (conclusion), byLawrence Contratti.

A study of Universal’s production

of THE BRIDE OF FRANKENSTEIN.

The other parts of this series were:Part 1, which was an overview, No42, Spring 1974, p24-25Part 2, DRACULA as a transitionalsound film No 43 Summer 1974,p27-30Part 3, Black Humour: THE INVISI-BLE MAN, No 44, Fall 1974 p40-41,45, 13Part 4, The MUMMY, No 45, Winter1974 p12-13Part 5, BRIDE OF FRANKENSTEIN(part 1) No 46, Spring 1975, p50-52

Press ArticlesThe following reviews and articlesand are held on microjacket at theBFI National Library under the titleMARY SHELLEY’S FRANKENSTEIN.

OBSERVER. REVIEW30 October 1994 pp. 8-9OBSERVER. REVIEW6 November 1994 p.11SUNDAY TELEGRAPH. REVIEW6 November 1994 p.5INDEPENDENT ON SUNDAY6 November 1994 p.26SUNDAY TIMES. SECTION 106 November 1994 p.6-7DAILY TELEGRAPH4 November 1994 p.20DAILY MAIL4 November 1994 p.44INDEPENDENT3 November 1994 p.29EVENING STANDARD3 November 1994 p.32THE TIMES3 November 1994 p.3THE TIMES3 November 1994 p.37FINANCIAL TIMES3 November 1994 p.21GUARDIAN. SECTION 223 November 1994 p.12MIDWEEK3 November 1994 p.22

NEW STATESMAN & SOCIETY4 November 1994, pp.32-33

Stitch-Up Job, by JonanthanRomney

The article criticises MARY SHEL-LEY’S FRANKENSTEIN and sees thefilm as made up of components offormer horror films and genres.Considers that De Niro’s creatureis the first monster of modern hor-ror, but that the film ultimatelydoes not resolve itself successfully.

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GUARDIAN (SECTION 2)27 October 1994

Creatures Great and Tall, by LizzieFranke

The article examines MaryShelley’s novel and its enduringfascination. Also discusses the1931 film version of the novel andother adaptations, before conclud-ing that Branagh’s film fails to cap-ture the essence of Shelley’s work.

SUNDAY TELEGRAPH. REVIEW23 November, 1994, p.5

Filming Frankenstein, by KennethBranagh

Branagh explains how he wantedto adapt Shelley’s novel and por-tray the character of Frankenstein.Also discusses how he aimed toshow the novel’s connection withmany ethical problems of today.Examines the themes of creativity,parenthood and birth in the film,as well as the role and appearanceof the creature.

Hammer Studios

books

EYLES, Alan, ADKINSON, Robertand FRY, Nicholas (eds.) House of horror: the completeHammer Films story.London: Creation Books, 1994. (Rev.ed.). 175p. illus. filmog. index.

History of Hammer, includinginterviews with Terence Fisher andPeter Cushing, amongst others.

JOHNSON, Tom and DEL VECCHIO,DeborahHammer films: an exhaustive fil-mography.Jefferson, NC: McFarland, 1996.vii-xi. 410p. illus. filmog. bibliog.index.

Alphabetical listing of allHammer’s films with credits, syn-opses, critiques and press reac-tions. Also includes a brief histo-ry of the studio.

MAXFORD, HowardHammer, house of horror: behindthe screams.London: Batsford, 1996. 192p. [12]col. plates. illus. chronol. biogs. fil-mog. index

Detailed and appreciative historyof Hammer from the studio’sinception to its demise. Good onproduction details, plot synopses,press reactions and how the filmsdid commercially.

PIRIE, DavidHammer: a cinema case study.London: BFI Education, 1980.unpaged, illus.

Looks at the factors - social, insti-tutional and political - responsi-ble for Hammer’s success inBritain and America. Focuses onHammer’s Frankenstein andDracula films.

journal articles

HOUSE THAT HAMMER BUILTNo.11. February 1999 (whole issue)

Interviews and filmographies onHammer directors, screenwritersand production designers, includ-ing original sketches and shootingschedules for some films.

HOUSE THAT HAMMER BUILTNo.1. February 1997

Hammer - the origins p.1-3Chronology of the founding ofHammer, from its origins withExclusive Films, including profilesof Enrique Carreras and WilliamHinds

Hammer - the productions p.4-18Full production list for Hammerfrom 1947 to the 1970s

Hammer - the history p.19 - 34Chronological history of Hammer1947-1956 including key eventsand films produced

HOUSE THAT HAMMER BUILTNo.2. April 1997

Hammer: the history pp.57-100

Second part of a ch ro n o l ogical historyof Hammer productions from 1957 to1 9 5 9 , including detailed analysis of thefantasy films pro d u c e d

HOUSE THAT HAMMER BUILTNo.3. June 1997 pp.117-152

The Sixties

Third part of a chronological histo-ry of Hammer Film Productions,focusing on 1960-1961, with fea-tures on each fantasy filmreleased.

HOUSE THAT HAMMER BUILTNo.4. August 1997 pp. 175-200

Hammer: the history

Continuation of a chronologicalhistory of Hammer focusing on theyears 1962-1963, including detailedanalysis of the fantasy films pro-duced.

HOUSE THAT HAMMER BUILTNo.6. December 1997pp.292-339

Hammer: the history

Continuation of a chronologicalhistory of Hammer productionfocusing on the fantasy films pro-duced from 1966 to 1968.

HOUSE THAT HAMMER BUILTNo.7. February 1998

Hammer: the history

pp. 349-379

Continuation of a history ofHammer productions 1969 - 1970,including detailed analysis of thefantasy films produced in thoseyears.

pp. 409 – 467

Continuation of a detailed chrono-logical history of Hammer FilmProduction, including detailed arti-cles on the fantasy films produced1971 – date of compilation.

HOUSE THAT HAMMER BUILTNo.9. August 1998 p.47-58

Hammer on location

List of Hammer films with thelocations where they were filmed.Includes photographs of some ofthe frequently used locations

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SIGHT AND SOUNDVol.6. No.8. August 1996, pp.10-13

Hammer’s Cosy Violence. Hammerand the English at Home, byJonathan Coe

Coe discusses Hammer Studios’relation both to TV and populargenres and how their films often include a subversive ele-ment. Offering familiar Englishgenres and landscapes within TV and radio adaptations,Hammer films are typical exam-ples of English culture. Arguing that the Hammer style suited theDracula and Frankenstein filmsbetter that Coppola’s or Branagh’sefforts, Coe shows how the filmswere centred on domestic environ-ments and recognizably connectedto our ideas of family life.

HAMMER HORRORNo.4. June 1995, pp.8-13

Costume Dramas: As the directorof KISS OF THE VAMPIRE, THEDEVIL-SHIP PIRATES, andRASPUTIN THE MAD MONK, DonSharp handled some unusuallydiverse films for Hammer. Hetalks to Christopher Koettingabout his work for the company,and their attempts to lure himback into the fold.

Interview with director Don Sharpabout his horror films for HammerFilm Productions.

FILM COMMENTVol.28. No.3. May/June 1992, pp.46-50

The House of Hammer, by AndrewMangravite

Mangravite discusses the specialstyle and appeal of the Hammerhorror films. He praises THE CURSE OF FRANKENSTEIN andDRACULA as particularly effectivein comparison to other horrorfilms. The article discusses the dif-ference between Christopher Lee’sCreature and Karloff’s Monster andhow Hammer, unlike the splattermovies, did not present an overtly‘blood and guts’ formula of horror.Discussing the fall of Hammer’sfortune by 1963.

Mangavite focuses blame on thefailure of the Phantom of theOpera and the studio’s attitude to melodrama.

pp.51- 53

Pictures on the Walls of the Houseof Hammer, by Robert C Cumbow.

The article lists and provides noteson the directors of the Hammerfilms, their writers and technicians.

LITTLE SHOPPE OF HORROR No.4. April 1978, pp.24-132

Hammer: Yesterday, Today andTomorrow, by Richard Klemensen

A varied and full source of infor-mation on Hammer Studios andtheir productions, with contribu-tions from writers and enthusi-asts. Areas covered include AHammer History, an interviewwith Managing Director MichaelCarreras, profiles and interviewswith Anthony Hinds, TerenceFisher, Roy Ward Baker, Val Guest,the writers and the actors. After anoverview of the Dracula films, afull filmography is listed.

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