"This is the kind of book on horror films that I've been waiting years to read. Combining a historian's rigor and a fan's enthusiasm, Kevin Heffernan shows us how industrial considerations shaped the genre and how the marginalized horror film has in fact been at the center of changes in the American movie business for the past fifty years."--Eric Schaefer, author of ""Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919-1959"
"This is the kind of book on horror films that I've been waiting years to read. Combining a historian's rigor and a fan's enthusiasm, Kevin Heffernan shows us how industrial considerations shaped the genre and how the marginalized horror film has in fact been at the center of changes in the American movie business for the past fifty years."--Eric Schaefer, author of ""Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919-1959"
Kevin Heffernan is Assistant Professor in the Division of Cinema-Television at Southern Methodist University. He is the coauthor of My Son Divine and co-screenwriter and associate producer of the documentary Divine Trash, winner of the Filmmakers Trophy at the 1998 Sundance Film Festival.
Inhaltsangabe
Acknowledgments vii Introduction 1 1 Horror in Three Dimensions: House of Wax and Creature from the Black Lagoon 16 2 The Color of Blood: Hammer Films and Curse of Frankenstein 43 3 “Look into the Hypnotic Eye!”: Exhibitor Financing and Distributor Hype in Fifties Horror Cinema 63 4 “A Sissified Bela Lugosi”: Vincent Price, William Castle, and AIP’s Poe Adaptations 90 5 Grind House or Art House?: Astor Pictures and Peeping Tom 113 6 American International Goes International: New Markets, Runaway Productions, and Black Sabbath 134 7 Television Syndication and the Birth of the “Orphans”: Horror Films in the Local TV Market 154 8 Demon Children and the Birth of Adult Horror: William Castle, Roman Polanski, and Rosemary’s Baby 180 9 Family Monsters and Urban Matinees: Continental Distributing and Night of the Living Dead 202 Conclusion: The Horror Film in the New Hollywood 221 Appendix: Feature Film Packages in Television Syndication, 1955-1968 229 Notes 263 Bibliography 295 Index 305
Acknowledgments vii Introduction 1 1 Horror in Three Dimensions: House of Wax and Creature from the Black Lagoon 16 2 The Color of Blood: Hammer Films and Curse of Frankenstein 43 3 “Look into the Hypnotic Eye!”: Exhibitor Financing and Distributor Hype in Fifties Horror Cinema 63 4 “A Sissified Bela Lugosi”: Vincent Price, William Castle, and AIP’s Poe Adaptations 90 5 Grind House or Art House?: Astor Pictures and Peeping Tom 113 6 American International Goes International: New Markets, Runaway Productions, and Black Sabbath 134 7 Television Syndication and the Birth of the “Orphans”: Horror Films in the Local TV Market 154 8 Demon Children and the Birth of Adult Horror: William Castle, Roman Polanski, and Rosemary’s Baby 180 9 Family Monsters and Urban Matinees: Continental Distributing and Night of the Living Dead 202 Conclusion: The Horror Film in the New Hollywood 221 Appendix: Feature Film Packages in Television Syndication, 1955-1968 229 Notes 263 Bibliography 295 Index 305
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