...) delivers perhaps the film's most well-known line: ‘Just room for one inside, sir’. The chapter studies the significance of the bed as a prime vehicle for scares in horror cinema and explores the potency of stillness and the suspension of time as devices for eliciting those goose bumps. Dead of Night...

...-oriented horror movies and the gross-out teen comedies that emerged in the late 1970s and early 1980s. This book details Carrie's journey from the page to the big screen, a journey that has seen it become a highly important part of its director's oeuvre and a classic of horror cinema...

... the film in depth. Similarly, texts that attempt to address the role of Japanese folklore or traditional theatre in contemporary Japanese horror cinema—of vital importance in Ju-on: The Grudge—are often cursory and fail to describe the myriad ways these connections manifest on screen. Ju...

...This introductory chapter situates Nicolas Roeg's Don't Look Now (1973) within the landscape of 1970s cinema in general, and 1970s horror cinema in particular. It also establishes the significance of specific kinds of cultural trauma in Don't Look Now as a horror...

... that integrated horror cinema and the visual look of EC comics. Interviewed in 1982, Romeo claimed that although it was ‘the irreverence and that graphic nature of the comics’ that attracted him to EC, the influence of EC in Creepshow ‘is not so much visual’. It is possible therefore...

..., including misogyny accusations levelled at the film, plus the cultural and political milieu into which the film was released. General introduction to why Cape Fear makes most sense as horror cinema, and how commentary at the time used language better suited to describing horror films when discussing what...

... German Expressionism horror genre horror cinema Der Golem: Wie er in Die Welt Kam (The Golem: How He Came into the World) Paul Wegener and Carl Boese, Germany 1920 Recommended viewing Der Student von Prag (Paul Wegener and Stellan Rye, 1913...

...This chapter reflects on how the year 2017 saw a renaissance in horror cinema, the genre as a whole becoming 'mainstream'. It looks at the parameters of the term 'mainstream horror', and how it relates to the genre as it developed through the years. The chapter then considers a film that succeeded...

... in the history of Iranian horror cinema in the pre- and post-revolutionary era and locates it as a transnational horror subgenre embued with ‘the uncanny between the weird and the eerie.’ The chapter theorizes the relation of the cinematic vampire with the figure of the Nightmare (bakhtak...

... offered a prescient take that foresaw Karloff's future place in the film pantheon. As for the film itself, however, the critical reception was more lukewarm. Critics who had grown tired of horror cinema found little in The Mummy to change their opinions. The chapter then looks at re...

...This chapter discusses the context and production of Michael Reeves's Witchfinder General (1968). It first traces the history of British horror cinema, British gothics, and the American International Pictures (AIP). Unlike the Hammer product of the 1960s, Witchfinder...

... role as artist and creator of horrific images. John Carpenter In the Mouth of Madness H.P. Lovecraft Stephen King religious fanaticism human existence horror genre horror cinema fear In the Mouth of Madness is many things. It is a tribute to H.P. Lovecraft and an homage...

... the film's value, focusing on the adaptation of King's book, Kubrick's auteur status and filmmaking style, and analysis of its ‘deeper’ meanings, rather than situating it—as much of its audience has—in the context of horror cinema. These approaches are significant, and they offer useful frameworks...

... to Halloween in Scream as an example of periods rewriting the past to create their own heritage, consequently imposing understandings from the present on to the past. It also emphasizes how it became common for 1980s American horror cinema to playfully incorporate references to past...

...Few films have had the influence and impact of The Blair Witch Project (1999). Its arrival was a horror cinema palette cleanser after a decade of serial killers and postmodern intertextuality, a bare bones ‘found footage’ trendsetter. The Blair Witch Project...

...The horror film reveals as much, if not more, about the British psyche as the more respectable heritage film or the critically revered social realist drama. Yet, like a mad relative locked in the attic, British horror cinema has for too long been ignored and maligned. Even when it has been...

... instead gives way to the idea that what is conjured is, thus, “the underlying anxieties of the vulnerable everyman,” not to mention a spate of imitators in its wake. What is conjured is the audience’s fear, in a virtuoso horror film. Horror cinema Magic Witches Wan James We close with an exploration...

... on the distrust of the older generational establishment, so much a feature of the youth counterculture of the 1960s, its themes of alienation and loss of personal control go back to the dawn of horror cinema. Its arrival also came at a time when Hollywood found itself facing some of its greatest challenges...

...This chapter explores how, in postmodern horror cinema, the very formulaic nature of the genre becomes part of an in-joke. Wes Craven's Scream (1996) featured teen characters so familiar with slasher films that they were able to list the generic conventions with ease. The film...

...This chapter studies the vampire movie, which has undoubtedly been the most enduring sub-genre throughout the history of horror cinema. From the German Expressionism of Nosferatu, through the Universal and Hammer versions of Dracula, George A. Romero's modernist...