Freddie Francis Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)

Total Page:16

File Type:pdf, Size:1020Kb

Freddie Francis Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨) Freddie Francis 电影 串行 (大全) Traitor's Gate https://zh.listvote.com/lists/film/movies/traitor%27s-gate-1170691/actors Torture Garden https://zh.listvote.com/lists/film/movies/torture-garden-1193505/actors Nightmare https://zh.listvote.com/lists/film/movies/nightmare-1196610/actors The Evil of Frankenstein https://zh.listvote.com/lists/film/movies/the-evil-of-frankenstein-1444783/actors Dr. Terror's House of Horrors https://zh.listvote.com/lists/film/movies/dr.-terror%27s-house-of-horrors-1617364/actors Mumsy, Nanny, Sonny and Girly https://zh.listvote.com/lists/film/movies/mumsy%2C-nanny%2C-sonny-and-girly-1703765/actors Son of Dracula https://zh.listvote.com/lists/film/movies/son-of-dracula-1937502/actors Star Maidens https://zh.listvote.com/lists/film/movies/star-maidens-317613/actors The Doctor and the Devils https://zh.listvote.com/lists/film/movies/the-doctor-and-the-devils-3222381/actors Paranoiac https://zh.listvote.com/lists/film/movies/paranoiac-3363575/actors The Skull https://zh.listvote.com/lists/film/movies/the-skull-3421567/actors The Psychopath https://zh.listvote.com/lists/film/movies/the-psychopath-3423295/actors The Ghoul https://zh.listvote.com/lists/film/movies/the-ghoul-3521028/actors Craze https://zh.listvote.com/lists/film/movies/craze-4081059/actors The Creeping Flesh https://zh.listvote.com/lists/film/movies/the-creeping-flesh-495737/actors Dark Tower https://zh.listvote.com/lists/film/movies/dark-tower-5223455/actors Legend of the Werewolf https://zh.listvote.com/lists/film/movies/legend-of-the-werewolf-6517827/actors The Brain https://zh.listvote.com/lists/film/movies/the-brain-7719805/actors The Vampire Happening https://zh.listvote.com/lists/film/movies/the-vampire-happening-7771992/actors They Came from Beyond Space https://zh.listvote.com/lists/film/movies/they-came-from-beyond-space-7783674/actors Two and Two Make Six https://zh.listvote.com/lists/film/movies/two-and-two-make-six-7859356/actors The Day of the Triffids https://zh.listvote.com/lists/film/movies/the-day-of-the-triffids-886190/actors 類人猿 https://zh.listvote.com/lists/film/movies/%E9%A1%9E%E4%BA%BA%E7%8C%BF-1170622/actors 毒蜂é”​ å½± https://zh.listvote.com/lists/film/movies/%E6%AF%92%E8%9C%82%E9%AD%94%E5%BD%B1-1219623/actors å¾·å¤​ 拉已ç»ä​ »ŽåŸ​ 墓里å¤æ​ https://zh.listvote.com/lists/film/movies/%E5%BE%B7%E5%8F%A4%E6%8B%89%E5%B7%B2%E7%BB%8F%E4%BB%8E%E5%9D%9F%E5%A2%93%E9%87%8C%E5%A4%8D%E6%B4%BB%E4%BA%86- ´»äº† 1254472/actors 懾é„​ é©šé‚​ https://zh.listvote.com/lists/film/movies/%E6%87%BE%E9%AD%84%E9%A9%9A%E9%AD%82-1615432/actors 那些見è‰​ 了瘋狂的故事 https://zh.listvote.com/lists/film/movies/%E9%82%A3%E4%BA%9B%E8%A6%8B%E8%AD%89%E4%BA%86%E7%98%8B%E7%8B%82%E7%9A%84%E6%95%85%E4%BA%8B-3231729/actors æ‡​ 斯底里 https://zh.listvote.com/lists/film/movies/%E6%AD%87%E6%96%AF%E5%BA%95%E9%87%8C-5962325/actors.
Recommended publications
  • 1 Ken Clarke
    KEN CLARKE - MY PROFESSIONAL AUTOBIOGRAPHY When I left junior school at the age of twelve my plastering career started at the well known building Arts & Craft Secondary School, ‘Christopher Wren’, and from this early age I was particularly interested in fibrous plastering. It was a known fact that, of a class of 16, two of the pupils, after four years of schooling, would start their training at a major film studio. I passed my GCE in Building Craft, Paintwork and Plasterwork (copy 1 attached) and was one of the lucky two to be chosen to start training at Shepperton Studios. This was my first achievement (copy 2 – letter of engagement, 9 June 1964, attached). I started Shepperton Studios in the plastering Dept on 22 June 1964 under conditions of a six-month probationary period and a further 4 and half years. During this five-year apprenticeship, I was to do through the block release system, eight weeks at work and two weeks at Art & Craft College ‘Lime Grove’. At the end of five years I was awarded my basic and final City and Guilds in plastering (basic June 1966 and final June 1968 – copies 3 and 4 attached). This was a big achievement for any young man – for me; it was the beginning of a big career. After my five years I was presented with one of the very last certificates of apprenticeship offered by the ‘Film Industry Training Apprenticeship Council’. Thus, my apprenticeship came to an end. (Letter of thanks and delivery of my deeds and certificate 1 June 1969.
    [Show full text]
  • AFI Preview 12
    THE AMERICAN FILM INSTITUTE GUIDE July 30-Sept. 9, 2004 ★ TO THEATRE AND MEMBER EVENTS VOLUME 1 • ISSUE 12 AFIPREVIEW CELEBRATE THE GOLDEN AGE OF MGM MUSICALS! MEET ME IN ST. LOUIS FEATURED SHOWCASE Plus: JOHNNYCRY-BABY LAWRENCE OF ARABIA PIRATES OF THE ORWELL ROLLS IN HIS GRAVE CARIBBEAN LA DOLCE VITA EDWARD SCISSORHANDS And... And More! August at the Kennedy Center: DEPP The Films of Charlie Chaplin THE MANCHURIAN CANDIDATE Kurosawa’s SEVEN SAMURAI NOW PLAYING FEATURED FILMS Features Now Opening! Featuring FAHRENHEIT 9/11 Director Michael Moore 2ORWELL ROLLS IN HIS GRAVE Expanding on his Orwellian Metaphor! 3LA DOLCE VITA 3LAWRENCE OF ARABIA Washington Area Premiere Engagement! Featured Showcase ORWELL ROLLS IN HIS GRAVE 4 Johnny Depp: Master of Quirk Opens Friday, July 30 “WAR IS PEACE,” “FREEDOM IS SLAVERY,” Film Series “IGNORANCE IS STRENGTH…” Has America 5 Bloody Hell: entered an Orwellian world of double-speak British Horror Films, Part 2 where outright lies can pass for the truth? Are 6 The Golden Age of MGM: The Freed its citizens being sold a bill of goods by a hand- Unit and the MGM Musical ful of transnational media corporations and political elites whose interests have little in Calendar 8-9 common with the interests of the American people? Director Robert Kane Pappas uses sear- ing testimony from the best and the brightest About AFI Silver/ to suggest this is the case. Pappas asks some Kennedy Center Theatres 10 troubling questions about the size of media 7Letter From the Director monopolies, how they got that way, who decides what airs and what doesn’t, and why Special Screenings and Events some news stories go unreported (or underreported) by the mainstream media.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • May 2013 Newspaper
    Celebrating library power Issue No. 288, May 2013 Budget News The library budget passed by a vote of 508 to 85. Thomas Donoghue and Michael Krevor were elected to the library board of trustees. Jobs & Careers news The Jobs & Careers Information Center staff has planned a full month of programming. See the calendar for details. ESOL 20 years Join us on Sunday, May 19 from 1 to 5 p.m. for the ESOL program’s Twen- tieth Anniversary Celebration. Story You can still reserve your place for the FOL Book & Author Luncheon inside. There’s still time to reserve your seat at the Friends of the Library’s 44th annual Richard D. Whittemore Book & Author Luncheon on Friday, May 17, at 11 a.m. at the North Hills Country Club in Manhasset. Reservation brochures are available in the library or can be printed via the library website at pwpl.org/fol. The cost of the luncheon is $65. The featured authors at the luncheon will be noted historian David Nasaw (The Borrow an E-Reader Patriarch: The Remarkable Life and Turbulent Times of Joseph P. Kennedy) and NYTimes bestselling author Will Schwalbe (The End of Your Nooks pre-loaded with New York Life Book Club). Novelist and screenwriter Susan Isaacs returns as program moderator. Times bestsellers are available at the Late registrants should contact FOL registrar Tinu Thakore at 767-1142 or send an email to [email protected]. Still have questions? Call front desk! First-come, first-served. the library’s Community Relations Office at 883-4400, Ext. 130.
    [Show full text]
  • Amicus Est Une Production Cinématographique Britannique Basée À Shepperton Studios En Angleterre
    Amicus est une production cinématographique britannique basée à Shepperton Studios en Angleterre. Elle a été fondée par le producteur et scénariste américain Milton Subotsky et Max Rosenberg . Amicus est mieux connu pour ces films d’horreurs d’anthologies, bien que leurs deux premiers films étaient des comédies musicales pour le marché des adolescents : C'est Trad, papa! (1962) et Just for Fun (1963). Toutefois, avant la création d'Amicus les deux producteurs avaient collaborés à un film d’horreur de 1960 La Cité des morts. Ces films sont généralement dotés de quatre, parfois cinq histoires d'horreur reliées les unes aux autres par une intrigue globale avec un narrateur et ceux qui écoutent son histoire. Ces films sont invariablement interprétés par des acteurs de renom, chacun d'entre eux jouant de petits rôles dans les différentes histoires. Ainsi on retrouve des stars tels que Peter Cushing , Christopher Lee et Herbert Lom , Amicus fait également appel à des acteurs de la scène britannique classique ( Patrick Magee , Margaret 1 Leighton et même Sir Ralph Richardson ), mais aussi à ( Donald Sutherland , Robert Powell et Tom Baker ), ou d'anciennes gloires comme ( Richard Greene , Robert Hutton , et Terry Thomas ). Certaines, comme Joan Collins , connaissaient une perte de vitesse dans leur carrière quand ils ont signé avec Amicus. Torture Garden et The House That Dripped Blood ont été écrits par Robert Bloch , basé sur ses propres histoires. The Skull était auparavant également basé sur une histoire de Robert Bloch (scénarisé par Milton Subotsky), et Robert Bloch était aussi le scénariste du Psychopathe et l'adaptateur de The Bees Deadly.
    [Show full text]
  • February 10, 2009 (XVIII:5) Jack Clayton the INNOCENTS (1961, 100 Min)
    February 10, 2009 (XVIII:5) Jack Clayton THE INNOCENTS (1961, 100 min) Directed and produced by Jack Clayton Based on the novella “The Turn of the Screw” by Henry James Screenplay by William Archibald and Truman Capote Additional scenes and dialogue by John Mortimer Original Music by Georges Auric Cinematography by Freddie Francis Film Editing by Jim Clark Art Direction by Wilfred Shingleton Deborah Kerr...Miss Giddens Peter Wyngarde...Peter Quint Megs Jenkins...Mrs. Grose Michael Redgrave...The Uncle Martin Stephens...Miles Pamela Franklin...Flora Clytie Jessop...Miss Jessel Isla Cameron...Anna JACK CLAYTON (March 1, 1921, Brighton, East Sussex, England, UK—February 26, 1995, Slough, Berkshire, England, UK) had 10 writing credits, some of which are In Cold Blood (1996), Other directing credits: Memento Mori (1992), The Lonely Passion of Voices, Other Rooms (1995), The Grass Harp (1995), One Judith Hearne (1987), Something Wicked This Way Comes Christmas (1994), The Glass House (1972), Laura (1968), In Cold (1983), The Great Gatsby (1974), Our Mother's House (1967), Blood (1967), The Innocents (1961), Breakfast at Tiffany's (1961), The Pumpkin Eater (1964), The Innocents (1961), Room at the Beat the Devil (1953), and Stazione Termini/Indiscretion of an Top (1959), The Bespoke Overcoat (1956), Naples Is a Battlefield American Wife (1953). (1944). DEBORAH KERR (September 30, 1921, Helensburgh, Scotland, JOHN MORTIMER (April 21, 1923, Hampstead, London, England, UK—October 16, 2007, Suffolk, England, UK) has 53 Acting UK—January 16, 2009, Oxfordshire, England, UK) has 59 Credits. She won an Honorary Oscar in 1994. Before that she had writing credits, some of which are In Love and War (2001), Don six best actress nominations: The Sundowners 1959, Separate Quixote (2000), Tea with Mussolini (1999), Cider with Rosie Tables (1958), Heaven Knows, Mr.
    [Show full text]
  • For More Than Seventy Years the Horror Film Has
    WE BELONG DEAD FEARBOOK Covers by David Brooks Inside Back Cover ‘Bride of McNaughtonstein’ starring Eric McNaughton & Oxana Timanovskaya! by Woody Welch Published by Buzzy-Krotik Productions All artwork and articles are copyright their authors. Articles and artwork always welcome on horror fi lms from the silents to the 1970’s. Editor Eric McNaughton Design and Layout Steve Kirkham - Tree Frog Communication 01245 445377 Typeset by Oxana Timanovskaya Printed by Sussex Print Services, Seaford We Belong Dead 28 Rugby Road, Brighton. BN1 6EB. East Sussex. UK [email protected] https://www.facebook.com/#!/groups/106038226186628/ We are such stuff as dreams are made of. Contributors to the Fearbook: Darrell Buxton * Darren Allison * Daniel Auty * Gary Sherratt Neil Ogley * Garry McKenzie * Tim Greaves * Dan Gale * David Whitehead Andy Giblin * David Brooks * Gary Holmes * Neil Barrow Artwork by Dave Brooks * Woody Welch * Richard Williams Photos/Illustrations Courtesy of Steve Kirkham This issue is dedicated to all the wonderful artists and writers, past and present, that make We Belong Dead the fantastic magazine it now is. As I started to trawl through those back issues to chose the articles I soon realised that even with 120 pages there wasn’t going to be enough room to include everything. I have Welcome... tried to select an ecleectic mix of articles, some in depth, some short capsules; some serious, some silly. am delighted to welcome all you fans of the classic age of horror It was a hard decision as to what to include and inevitably some wonderful to this first ever We Belong Dead Fearbook! Since its return pieces had to be left out - Neil I from the dead in March 2013, after an absence of some Ogley’s look at the career 16 years, WBD has proved very popular with fans.
    [Show full text]
  • Boxoffice Barometer (April 15, 1963)
    as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production.
    [Show full text]
  • Citation: Freeman, Sophie (2018) Adaptation to Survive: British Horror Cinema of the 1960S and 1970S
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Northumbria Research Link Citation: Freeman, Sophie (2018) Adaptation to Survive: British Horror Cinema of the 1960s and 1970s. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/39778/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html ADAPTATION TO SURVIVE: BRITISH HORROR CINEMA OF THE 1960S AND 1970S SOPHIE FREEMAN PhD March 2018 ADAPTATION TO SURVIVE: BRITISH HORROR CINEMA OF THE 1960S AND 1970S SOPHIE FREEMAN A thesis submitted in partial fulfilment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research undertaken in the Faculty of Arts, Design & Social Sciences March 2018 Abstract The thesis focuses on British horror cinema of the 1960s and 1970s.
    [Show full text]
  • Columbia Pictures: Portrait of a Studio
    University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.
    [Show full text]
  • Buxom Monstrosity: Theatricality and the Ostentatious Body in Horror Film
    Buxom Monstrosity: Theatricality and the Ostentatious Body of the Horror Film André Loiselle Carleton University, 1125 Colonel By Drive Ottawa ON K1S 5B6 613.520.2600 + 8083 [email protected] Abstract The low-brow horror film is often criticized for indulging in the display of ‘some stupid killer chasing some big-breasted girl.'1 While this cliché is generally inaccurate, the presence of curvaceous young women in horror is common enough to have become a recognizable stereotype. Rather than merely claiming that they appear in horror films only to appeal to the sex-crazed teenage boys who apparently flock to see schlock, this article proposes that the voluptuous bodies that adorn much of horror cinema mirror the threateningly ostentatious physique of the monster in its subversive challenge against patriarchal normality. To make this argument, I consider first how the monster's impact on the audience results in great part from its theatricality. Subsequently, I discuss how the concept of theatricality and its various implications applies to the notion of buxom monstrosity. Using examples ranging from classics such as Terence Fisher's The Curse of the Werewolf (1961) to current releases like The Exorcist Chronicles (2013, Philip Gardiner), I show that buxom monstrosity, in all of its aberrantly captivating theatricality, epitomizes the paradox of patriarchy. The monstrously curvy body stands for the (un)containable feminine figure that hegemonic masculinity finds at once irresistible and repulsive; endearingly fragile and frighteningly potent. Keywords: Corporality of the female character in the horror film; Subversive bodies in horror; Theatricality of the monster. 1. Introduction: Horror's Big-Breasted Girl.
    [Show full text]
  • Freeman.Sophie Phd.Pdf
    Northumbria Research Link Citation: Freeman, Sophie (2018) Adaptation to Survive: British Horror Cinema of the 1960s and 1970s. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/39778/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html ADAPTATION TO SURVIVE: BRITISH HORROR CINEMA OF THE 1960S AND 1970S SOPHIE FREEMAN PhD March 2018 ADAPTATION TO SURVIVE: BRITISH HORROR CINEMA OF THE 1960S AND 1970S SOPHIE FREEMAN A thesis submitted in partial fulfilment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research undertaken in the Faculty of Arts, Design & Social Sciences March 2018 Abstract The thesis focuses on British horror cinema of the 1960s and 1970s. This was a lively period in British horror history which produced over two hundred films, but it has often been taken for granted in critical work on both British horror and British national cinema, with most of the films concerned left underexplored or ignored entirely.
    [Show full text]