source guides

National Library h o r r o r 16 + Source Guide contents

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IMPORTANT NOTE ...... i

GENERAL INFORMATION ...... ii

APPROACHES TO RESEARCH, by Samantha Bakhurst ...... iii HORROR Books ...... 1 Journal Articles ...... 10

CASE STUDIES

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

Compiled by: Erinna Mettler Tess Forbes Andrew Ormsby Emma Smart Ian O’Sullivan

Design/Layout: Ian O’Sullivan

Project Manager: David Sharp

© BFI NATIONAL LIBRARY 21 Stephen Street W1T 1LN

1998, rev 2003 16+ MEDIA STUDIES

INFORMATION GUIDE STATEMENT

“Candidates should note that examiners have copies of this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research sources must be credited”.

BFI National Library i accessing research materials BFI NATIONAL copies of articles Local bookshops LIBRARY Some of the books mentioned in If you are unable to visit the the bibliography will be in print library or would like materials All the materials referred to in this and your bookshop should be able referred to in this guide sent to to order items for you. guide are available for consulta- you, the BFI Information Service tion at the BFI National Library. If can supply copies of articles via its you wish to visit the reading room The British Library Newspaper Research Services. Research is Library of the library and do not already charged at a range of hourly rates, hold membership, you will need to with a minimum charge for half The Newspaper Library will have take out a one-day, five-day or an hour’s research – full details of annual pass. Full details of access all the newspaper items referred services and charges can be found to in this guide. Contact the to the library and charges can be at: found at: library first if you wish to visit. 16+ students under the age of 18 w w w. b f i . o rg . u k / f i l m t v i n f o / s e r v i c e s / www.bfi.org.uk/filmtvinfo/library will need to make an appoint- re s e a rch . h t m l ment.

For queries about article copying The British Library Newspaper BFI National Library Reading or other research, please contact Room Opening Hours: Library Information Services at the above Colindale Avenue address or telephone number, or London Monday post your enquiry online at: 10.30am - 5.30pm NW9 5HE Tuesday Tel. 020 7412 7353 w w w. b f i . o rg . u k / f i l m t v i n f o / s e r v i c e s / Email: [email protected] 10.30am - 8.00pm a s k Wednesday 1.00pm - 8.00pm www.bl.uk/collections/collect.html Thursday #newsBL 10.30am - 8.00pm OTHER SOURCES Friday 10.30am - 5.30pm Your local library

If you are visiting the library from Local libraries should have access a distance or are planning to visit to the inter-library loan system for as a group, it is advisable to con- requesting items they do not hold tact the Reading Room librarian in and they may have copies of advance (tel. 020 7957 4824, or MONTHLY BULLETIN and email [email protected]). SIGHT AND SOUND. Some recent newspaper items may be held by your local reference library. Larger BFI National Library libraries will hold other relevant materials and should offer inter- 21 Stephen Street net access. London W1T 1LN Tel. 020 7255 1444 Your nearest college/university www.bfi.org.uk/filmtvinfo/library Universities may allow access to outside students, though you may The library’s nearest underground not be able to borrow books or stations are Tottenham Court Road journals. Ask your reference and Goodge Street. For a map of librarian, who should be able to the area please see: assist by locating the nearest col- lege library holding suitable mate- www.bfi.org.uk/filmtvinfo/library/ rial. The BFI Film and Television visiting Handbook lists libraries with signif- icant media collections.

Your school library

BFI National Library ii approaches to research by Samantha Bakhurst ranging from the passive con- research. Some of these will be sumption of values and ideas to generally available (in public Why do research? the use of media texts in a critical libraries for example); others such and independent way. Any discus- as press releases and trade press sion about censorship, for exam- may only be available through spe- You cannot simply rely on your ple, will be extremely shallow if cialist libraries. existing knowledge when you have no knowledge of these approaching essays in Media different perspectives. Secondary - online sources: Online Studies. Although you will have sources are also mainly secondary. some understanding of the area Some knowledge of the work of You will need to be able to make being explored, it is not enough to theorists in the area: You need to comparisons between sources if enable you to examine the area in demonstrate that you have read you intend quoting online infor- depth. If you were asked to write different theorists, exploring the mation, and to be wary of the dif- about the people in your street in relevant issues and investigating ferences between fact and opin- detail, you might have some exist- the area thoroughly in order to ions. Don’t necessarily assume ing information about names, develop your own opinion based something is a fact because some- faces, relationships, issues and on acquired knowledge and under- one on a website says it is. Some activities but this knowledge standing. websites will be “official” but many would not offer you details such as will not be, so you need to think every single one of their names, Information relevant to all key about the authority of a site when who knows who, who gets on with concept areas: You should, after assessing the information found whom, how people earn a living, research, be able to discuss all key on it. The structure of a website what has happened to them in the concept areas as they relate to address (URL) can indicate the past and so on. This extra informa- that specific subject area. These site’s origin and status, for exam- tion could change your opinions are the codes and conventions, ple, .ac or .edu indicate an aca- quite dramatically. Without it, representation, institutions and demic or educational institution, therefore, your written profile audience. .gov a government body, .org a would end up being quite shallow non-profit organisation, .co or and possibly incorrect. The same is .com a commercial organisation. true of your understanding of Types Of Research Websites sometimes disappear or media texts, issues and institu- shift location - make sure you can tions. quote a URL reference for a site, Primary: This is first-hand and perhaps keep a note of the Before researching any area, it is research. In other words, it relies last date that you checked it. useful to be clear about what out- on you constructing and conduct- comes you are hoping to achieve. ing surveys, setting up interviews Other Media: When considering Research is never a waste of time, with key people in the media one area of the media or one par- even when it doesn’t directly industry or keeping a diary or log ticular product or type of product, relate to the essay you are prepar- of data (known as quantitative it is very important that you com- ing. The information may be rele- information) on things such as, for pare it with others which are simi- vant to another area of the syl- example, what activities women lar. You will need to be able to labus, be it practical work or sim- are shown doing in advertise- refer to these comparisons in ply a different essay. Also, the pic- ments over one week of television some detail so it is not enough to ture you are building up of how an viewing. Unless you are equipped simply watch a film. You will need area works will strengthen your to conduct extensive research, to read a little about that film, understanding of the subject as a have access to relevant people in make notes, concentrate on one or whole. So what outcomes are you the media industry or are thor- two scenes which seem particular- hoping to achieve with your ough in the up-keep of your diary ly relevant and write all of this research? or log, this type of research can be information up so that you can demanding, complex and some- refer to it when you need to. A broad overview of the area you times difficult to use. Having said are researching: This includes its that, if you are preparing for an History and development: Having history, institutions, conventions extended essay, then it is exactly an understanding of the history and relationship to the audience. this type of research which, if well and development of the media Research into these aspects offers used, will make your work distinc- text which you are researching will you an understanding of how your tive and impressive. provide a firm foundation and area has developed and the influ- context for contemporary analysis. ences that have shaped it. Secondary - printed sources: This There is a difference between gen- is where you will be investigating erally accepted facts and how the- An awareness of different debates information gathered by other orists use these facts. which may exist around the area people in books, newspapers, mag- of study: There are a range of azines, on radio and television. All Theory: This is the body of work of debates in many subject areas. For of these sources are excellent for other critics of the media. Most of example, when researching audi- finding background information, the books and periodical articles ences you will discover that there statistics, interviews, collected which you will read for research is some debate over how audi- research details and so on. This will be written by theorists who ences watch television or film, will form the majority of your are arguing a particular viewpoint

BFI National Library iii or position with regard to an issue within the media. It is this which forms the debates surrounding the study of the media, in which you, as a media student, are now becoming involved.

Using Research

Organising your research: Before rushing headlong to the local library or web search engines, the first stage of research is to plan two things. When are you able to do your research and how are you going to organise the information gathered? You may, for example, wish to make notes under the headings listed above.

Applying your research: Always return to the specific questions being asked of the text. The most obvious pitfall is to gather up all of the collected information and throw it at the page, hoping to score points for quantity. The art of good research is how you use it as part of your evidence for an analysis of the text. The knowl- edge you have acquired should give you the confidence to explore the text, offer your own arguments and, where appropriate, to quote references to support this.

Listing your research: It is good practice, and excellent evidence of your wider reading, to list all refer- ences to secondary research, whether mentioned within the essay or not, at the end of your work.

References are usually written in this way:

1. Len Masterman, Teaching About Television, London, Macmillan, 1980.

2. Manuel Alvarado and Bob Ferguson, “The Curriculum, Media Studies and Discursivity”, Screen, Vol.24, No.3, May-June 1983.

Other media texts referred to in detail should be listed, with rele- vant information such as the director, date of release or trans- mission, and, where possible, scene or episode number. Where you have compiled primary research, it is useful to offer a brief summary of this also at the end of your work.

BFI National Library iv general references

BANSAK, Edmund G. BLACK, Andy books Fearing the dark: the Necronomicon: book four. career. Hereford: Noir Publising, 2001. 192p. ANDREWS, Nigel Jefferson, NC; London: McFarland, illus. index Horror . 1995. vii-ix, 571 p. illus. filmog. index. Admiral, 1986. 95p. illus (chiefly col.) Part four of a series of books, Critical biography. Includes chap- which look specifically at horror Only covers films up to the mid- ters on some of the directors who and erotic cinema from a theoreti- 80s, using a more simplistic style worked with Lewton, cal perspective. Usually contain at of language. Covering key motifs in including and least 10 essays of reasonable horror films diverse as THE BEAST . length, this particular edition cov- FROM 20,000 FATHOMS to the origi- ers eclectic films such as nal GODZILLA films. Great Antonioni’s BLOW UP, SLEEPY HOL- resource for some really good stills BERENSTEIN, Rhona LOW as modern Gothic and hor- and an easy reference guide. Attack of the leading ladies: ror’s stalwart David Cronenberg. Gender, sexuality and spectator- ship in classic horror cinema. BADLEY, Linda New York; Chichester: Columbia BLISS, Michael and BANKS, Fi l m , h o r ro r, and the body fantastic. University Press, 1996. ix-xvi. 271p. Christina Westport, CT; London: Greenwood filmog. bibliog. index. What goes around comes around: Press, 1995. 199p. filmog. bibliog. the films of Jonathan Demme. index Focusing on the Hollywood horror Carbondale; Edwardsville, IL: films of the early , this is a Southern Illinois University Press, An informative, easy to read text, study of classic horror’s terrified 1996. ix, 176p. illus. filmog. bibliog. which directly relates the connec- women, but also looks at popular index. tion between the body and horror culture’s assumptions about horror films; how gender is represented and gender. In her extensive intro- First book-length study of Demme, in this ; how that representa- duction the author outlines the includes a chapter on THE SILENCE tion has changed and specifically areas she looks at, and separates OF THE LAMBS and an the way women’s role in horror her arguments and investigations interview with the director. has evolved. Includes two excel- into clearly marked chapters. lent chapters, informed by psycho- Never too analytical with her use analytic/feminist film theory, on of language, covers the films BOOT, Andy the female gaze and a detailed themselves but also the encom- Fragments of fear: an illustrated look at SILENCE OF THE LAMBS. passing advertising of the time. history of British horror films. References the milieu of horror Leans towards spectatorship and London: Creation Books, 1996. 283p. films from the original appropriation of the gaze in cine- illus. filmog. index. to ALIENS. matic terms. A useful text. Attempts to cover “the whole range 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, and science-fiction film art 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 vintage film memorabilia and this book is the first revealing of such gems as reprints of classic horror movie posters as far back as THE CABINET OF DR CALIGARI to sixties block- PSYCHO. With accompany- ing text written by seven leg- endary horror genre writers including , Clive The Cabinet of Dr Caligari (1919) Barker and

BFI National Library 1 BROTTMAN, Nikita consider the “Britishness” of apart from HALLOWEEN together Hollywood Hex: death and destiny British horror films and focus on and studying them in well defined in the dream factory. key films and directors as well as chapters, choosing to focus on London: Creation Books, 1998. 201p. neglected masterpieces of the HALLOWEEN separately as the illus. bibliog. index. genre. definitive example of the author’s arguments. Insight and background into the productions of Hollywood’s more CLOVER, Carol J. notorious horror films. Men, women and chainsaws: DONALD, James Gender in the modern . Fantasy and the cinema. London; British Film Institute, 1992. London: BFI, 1989. 298p. illus. diags. CARTMELL, Deborah et al. (eds.) 260p. illus. index bibliog. indices Pulping fictions: consuming cul- ture across the literature/media Methodical look at the way con- Collection of essays, grouped divide. temporary horror films represent together in three distinct chapters. London; Chicago: Pluto Press, 1996. the role of women. With excellent Easy to read, this book discusses 160p. index. footnotes and references to key key motifs in the horror genre in a texts/films it’s easy to read and is simple refreshing way. For a quick Heidi Kaye’s chapter on MARY clearly well researched. way to determine those key motifs SHELLEY’S FRANKENSTEIN finds consult this book, everything is Branagh’s professed feminist sym- covered from Hitchcock to the pathies wanting and suggests that COATES, Paul ‘slasher’ genre. both the text of the film and ’s Gaze: German cine- aspects of its production privilege ma, expressionism and the image relationships between men over of horror. DOUGLAS, Drake those between men and women or Cambridge: Cambridge University Horrors! women and their children. Ken Press, 1991. 287p. filmog. bibliog. Woodstock, NY; Overlook Press, 1989. Gelder’s piece on INTERVIEW WITH index. 418p. illus. bibliog. filmog. THE looks at ideas of authorship in the field of “cultural This text is a multifield study of Although not including anything production”, using, as an example, recurring themes in German cine- from the last three decades this is ’s reaction to the casting ma as it has developed since the still an informative discussion of of as the eponymous early part of the 20th century. horror and its spine-tingling incar- vampire. Focusing on perennial films of the nations by a horror writer of pre and post war eras the author extreme calibre. Broken down into explores the nature of expression- simple chapters it is a refreshing CETTL, Robert ism and relates theories of the take on horror without being Serial killer cinema: an analytical sublime, the uncanny and the bogged down by too much analysis filmography with an introduction. monstrous to the subject in hand. or interpretation. Jefferson, NC; London: McFarland, 2003. ix, 566p. illus. bibliog. index CREED, Barbara DYSON, Jeremy Putting aside any argument you The monstrous feminine: film, Bright darkness: the lost art of the might have to exclude the serial feminism, psychoanalysis. . killer genre from the horror canon, London: Routledge, 1993. 182p. [24] London; Washington: Cassell, 1997. this book is a useful reference plates. bibliog. filmog. index viii-x, 282p. [8] plates. appendix. bib- guide to the serial killer films. liog. index. Analysis and comprehensive syn- Essential text on feminism in film opsis for each entry, covering using psychoanalysis and dedicat- Dyson celebrates the supernatural world cinema not just Hollywood. ed to looking at the horror genre. horror film, starting with the early An intricate text, split into two sound versions of parts and focusing heavily on Frankenstein and Dracula. Other CHIBNALL, Steve; PETLEY, Julian Freud’s psychology and analysis of chapters focus on Val Lewton’s (Eds) the female. RKO movies and werewolf British Horror Cinema. films. There are extensive and London; New York: Routledge, 2002. detailed analyses of Jacques xiii, 242p.; DIKA, Vera Tourneur’s NIGHT OF THE illus.notes.refs.filmog.index. Games of terror: Halloween, Friday DEMON and Robert Wise’s THE the 13th and the stalker cycle. HAUNTING, which Dyson sees as Seeks to redress the balance in Cranbury, NJ; London: Associated representing the twin peaks of a lack of critical attention paid to University Presses. 1990. 153p. bibli- kind of film-making which was British horror cinema (with the og. indices. never again to rise to such heights. exception of Hammer horror films). Contributors include Mark Taking a psychoanalytical Kermode, and Julian approach to film theory and audi- Petley (amongst others) and inves- ence gratification this book looks tigates how British horror films at the culture surrounding very have been censored and classified, specific ‘stalker’ films in the slash- criticised and received by audi- er genre. It is well researched and ences. The book’s contributors easy to read, collating all the films

BFI National Library 2 DURGNAT, Raymond FLYNN, John L. and if you are interested in the A Mirror for : British Cinematic : the living subject matter pretty much indis- movies from austerity to afflu- dead on film and television, from pensable. ence. the Devil’s Castle (1896) to Bram Faber&Faber, 1970. 336p. plates. bibli- Stoker’s Dracula (1992). og. filmog. index Jefferson, NC; London: McFarland, GIFFORD, Denis 1992. 320p. illus. appendix. bibliog. Mad Doctors; and mum- This essential text is an ideal index mies: lobby card posters from accompaniment to any study of Hollywood horrors. British filmmaking and covers Comprehensive guide to vampires London: Blossom, 1991. 94p. illus. everything from pre -WW2 films to in every guise on television and on the Hammer horrors. film up to 1993. More of a refer- Lobby card posters from ‘classic’ ence guide than a study into the Hollywood horror movies. Each , each film entry has reprint is accompanied with a syn- EVERMAN, Welch a synopsis, brief cast list and a rat- opsis and brief credit list for the Cult Horror Films: from The Attack ing system of the merits of the film. Interesting for anyone of the 50 foot woman to film. The appendix is good and it researching movie art, advertising of Mora Tau. gives a useful overall look at the or even the context of this era of New York: Carol. 1993. 227p. iilus. vampire genre. filmmaking.

With a good introduction to what qualifies as a cult horror film this FREELAND, Cynthia A. GOLDEN, Christopher is a comprehensive guide to the The naked and the undead: evil Cut! Horror writers on horror film. world of the cult filmmakers with and the appeal of horror. New York: Berkley Books, 1992. 297p. entries and stills not usually found Boulder, CO; Oxford: Westview, 2000. illus in film texts. Covering films of vii-xv, 320p. illus. filmog. bibliog. zero budget and seemingly zero Short, interesting chapters from talent to cult ‘classics’ as Coppola’s This book is possibly the broadest horror’s most prolific writers rang- DEMENTIA 13. Good source book, look at women in horror films, ing from topics such as Hammer highly recommended. especially modern ones, on today’s films to the classic scary movie market. Linking the question of THE HAUNTING. Including essays gender to the notion of good and from Anne Rice and Clive Barker. FENTON, Harvey & FLINT, David evil, it focuses specifically on femi- Ten years of terror: British horror nist analyses of a variety of films films of the 1970s. including THE SILENCE OF THE GRANT, Barry Keith (ed.) : FAB Press, 2001. 336p. illus. LAMBS, the ALIEN series and even Planks of reason: essays on the appendices. bibliog. index HENRY: PORTRAIT OF A SERIAL horror film. KILLER. It’s never too analytical Metuchen, NJ; London: Scarecrow Straightforward, chronological ref- however, using concepts that are Press, 1984. 428p. bibliog. index. erence guide with fantastic stills clear to follow and is in fact an and movie posters covering just interesting, entertaining book to Anthology of essays on the horror about every horror film made in read. film. Part I offers various the 1970s with British money. approaches to the genre, Accompanying each title is a credit discussing conventions, themes, list, box office information and GAGNE, Paul R. literary antecedents etc. Several any problems the films had with The zombies that ate Pittsburgh: essays take a censorship. Provides useful con- the films of George A. Romero. psychoanalytic approach. Robin text if studying this period of cine- New York: Dodd, Mead & Company, Wood, for example, identifies ma history, though the reviews are 1987. vii-xv, 236p. illus. [8] col. plates. repression and the figure of very subjective and somewhat filmog. index. the “Other” as being central to juvenile. much horror cinema. Part II focus- Definitive study of Romero, with es on individual films and extensive comments from the directors. FISCHER, Dennis director himself. Horror Film Directors 1931-1990. Jefferson, NC: McFarland, 1991. 877p. GRANT, Barry Keith illus. bibliog. index GALBRAITH IV, Stuart The dread of difference: gender Japanese , fantasy and the horror film. Well-researched, extensive refer- and horror films. A critical analy- Austin, TX: University of Texas Press, ence guide to horror filmmakers, sis of 103 features released in the 1996. vii-xv, 456p. illus.bibliog.index almost everyone you’d imagine is US between 1950-1992. included. Each director is looked at Jefferson, NC: McFarland, 1993. v- Overall a useful text for a study of individually, some of their films xxiii. 424p. filmog. bibliog. appendix. gender difference in the horror analysed and a general discussion index. genre. The collection of essays about themes in their filmmaking focus more on classic horror films is included. Also personal insights With few good books on Japanese of the and , and the into the horror makers themselves genre filmmaking this is a com- later slasher movies from the that you usually only find in mag- prehensive guide to this field. 1970s. azine interviews. Offering an insight into this largely unexplored area, it is easy to read

BFI National Library 3 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 and Teenagers, moms and other mon- sters – this text is probably all you need 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 Lynch (1922) and Tobe Hooper. HAINING, Peter detailing the storylines of these The Dracula scrapbook: Articles, different movies. Hammer Pictures HOGAN, David J. essays, letters, newspaper cut- gets a mention. Dark Romance: sexuality in the tings, anecdotes, illustrations, horror film. photographs and memorabilia Jefferson, NC; London: McFarland, about the vampire legend. HANDLING, Piers (ed.) 1986. 334p. illus. bibliog. filmog. London; New English Library, 1976. The shape of rage: the films of Index. 176p. illus. David Cronenberg. Toronto; New York: General Excellent look at a variety of hor- Interesting, rarely discussed infor- Publishing Co. Ltd./New York ror films, focusing on the way they mation on vampires and Dracula Zoetrope Inc.: 1983. v-vii, 216p. illus. represent sexuality and how dif- filmog. bibliog. himself. Well researched but it is ferent sexual identities are criss- dated and this may disappoint crossed throughout the genre. A Collection of articles and an inter- some readers looking for the more must read for anyone studying the view. contemporary films. ‘traditional’ horror film, with an excellent chapter on . HALBERSTAM, Judith HARDY, Phil (ed.) Skin shows: gothic horror and the The Aurum film encycopedia: horro r. London: Aurum Press, 1993. (Rev. technology of monsters. HOLSTON, Kim R. and WINCHES- ed.). vii-xiii, 496p. illus. [16] col. Durham, NC; London: Duke TER, Tom University Press, 1996. ix-x. 215p. bib- plates. appendices. Science fiction, fantasy and horror liog. Index. index. film sequels, series and remakes: an illustrated filmography, with Using a variety of approaches, but International in scope, with syn- plot synopses and critical com- especially feminist and queer film opses and critical analysis for over mentary. theories, Halberstam 2000 films. A good Jefferson, NC: McFarland, 1997. v-vi, looks at monsters/monstrosity in introductory essay provides a suc- 601p. illus. bibliog. index. the modern horror film. Discusses cinct overview of the evolution of the genre. ’s novel Excellent reference source to track (but none of the Frankenstein down the more elusive strands of films) as a blueprint for modern the horror genre. Each entry has a HENDERSSHOT, Cyndy ideas of the monstrous. Also synopsis, cast list and a shortened I was a cold war : horror looks at DRACULA, THE SILENCE OF review pieced together by the films, eroticism, and the Cold War THE LAMBS, THE BIRDS and THE authors from original material. As TEXAS CHAIN SAW imagination. diverse films as BILLY THE KID VS MASSACRE. Bowling Green, OH: Bowling Green State University Popular Press, 2001. DRACULA to classic horror films 152p. illus. notes. bibliog. index. such as FRANKENSTEIN. Easy and quick guide to uncover the lineage HALLIWELL, Leslie of horror films and their counter- The dead that walk. This text examines the Cold War parts in the sci-fi/fantasy genre. Grafton, 1986. 262p. illus. filmog. era of filmmaking from the 1950s index. through to the mid 1960s, arguing that the horror films of this partic- A useful resource particularly ular era provided an outlet for focusing on the classic horror society’s anxieties of the time. The movie terrors of DRACULA, author writes clearly and provides FRANKENSTEIN and THE . plenty of contextual examples,

BFI National Library 4 HOLTE, James Craig changing social attitudes to patri- outlines the main critical debates. Dracula in the dark: the Dracula archy and male authority are Each section explores a central film adaptations. reflected in the progression of the issue of horror film by combining Westport, CT; London; Greenwood seven films in the Hammer classic and recent articles, and Press, 1997. vii-xi, 161p. filmogs. bib- Frankenstein cycle which features an editor’s introduction liogs. index. spanned the years 1957-1973. outlining the context of debates.

Specifically looks at Dracula films. Good chapter on the resurrection JAMESON, Richard T JONES, Darryl of this particular sub-genre by They went thataway. Horror: a thematic history in fic- Hammer Pictures in the post-war San Francisco: Mercury House, 1994. tion and film. years. Separated into six, easy to 380p. illus. index. London: Arnold, 2002. iv, 220p.; follow chapters one in particular notes.bibliog.filmog.index. devoted to the female vampire Examines the movies that have film which is very useful. defined their and those Wide-ranging and accessible criti- that have transcended standard cal history of the horror genre, genre conventions. A useful chap- concentrating simultaneously on HUMPHRIES, Reynold ter focusing on the horror and on film. The book also The American horror film: an and looking particuarly at THE FLY, deals with problems in the ethics introduction. TREMORS, and THE SILENCE OF THE of representation from blasphemy Edinburgh: Edinburgh University LAMBS. Also includes essays on the to film censorship and the “video Press, 2002. vii, 216p.; vampire film and ’s nasty” debates. The book is organ- illus.filmog.bibliog.index Dracula. ised thematically with chapters on religion and nationalism; science An excellent introduction to the and technology; vampires; mad- genre which assumes no prior JANCOVICH, Mark ness and psycho-killers. knowledge of the subject area. Horror. The book provides an overview of London: B.T. Batsford, 1992. 128p. American horror film from DRACU- illus. bibliog. index JONES, Stephen LA (1931) to contemporary films Illustrated dinosaur movie guide: such as SCREAM and THE SIXTH A good general text into the back- Introduction by . SENSE. Humphries discusses ground of the horror genre. Using London, Titan, 1993. 144p. illus. bibli- recurring motifs in horror cinema: psychoanalysis and post-mod- og. appendix. index. vampires, werewolves, mad scien- ernism to look at tists, living dead and “slasher” through to the emergence of the Chronological look at eras of spe- movies. horror film. Specific examples cial effect filmmaking concentrat- used are DR JEKYLL AND MR HIDE ing on the many ‘dinosaur’ films and FRANKENSTEIN. over the years. Excellent illustra- HUNTER, Jack (Ed) tions and extracts for the major The bad mirror. films, with cast lists and synopses. Creation Books, 2002. 282p. illus. JANCOVICH, Mark (Creation Cinema Collection; vol.10) Rational fears: American horror in the 1950s. JONES, Stephen An anthology of essays exploring Manchester; New York: Manchester Creepshows: the illustrated cult, exploitation and underground University Press, 1996. 324p. illus. Stephen King movie guide. cinema. Many of the essays focus chronol. bibliog. (1st ed) London: Titan Books, 2001. on the horror genre including 192p.; illus. Index. British horror cinema (Tigon and Jancovich challenges the assump- Hammer period), and Italian can- tion that the 1950s were a time of This book was published to mark nibal movies. “reactionary” horror film the 25th anniversary of John making and suggests that, in post- Carpenter’s adaptation of CARRIE 1960 horror, there can be traced HUTCHINGS, Peter (the first film adaptation of a many elements that Stephen King novel; King has sub- Hammer and beyond: the British surfaced in the films of this peri- sequently gone on to be perhaps horror film. od. Manchester: Manchester University cinema’s most adapted author). Press, 1993. 193p. [8] plates. illus. The book gives in-depth coverage, index. JANCOVICH, Mark production histories and inter- Horror: the film reader. views on all his films including the Presents the British horror film in London; New York: Routledge, 2002. horror classics , PET relation to the social change of viii, 188p.; bibliog.index. (In Focus: SEMETARY and GRAVEYARD SHIFT. the country throughout the 1950s, Routledge Film Readers). 60s and 70s. Not just concentrat- ing on the Hammer studios but This book brings together key arti- KERMODE, Mark argues for a broader view of cles to provide a comprehensive The Exorcist. British filmmaking. It is well resource for students of horror London: British Film Institute, 1997. researched, with succinct argu- cinema. Jancovich’s introduction 96p. illus. (BFI modern classics) ments and is a very useful text traces the development of horror book. Chapter 4 - “Frankenstein from THE CABINET OF DR CALIGARI This study traces the history of the and Dracula” - looks at how to , and film, from its alleged “real life”

BFI National Library 5 inspiration, through its LLOYD, Ann MANK, Gregory William production, to the hysterical The films of Stephen King. Women in Horror films. 1930s. response it provoked on its London: Brown Books, 1993. 96p. McFarland, 1999. ix-xi, 403p. illus. release. Features extensive illus. bibliog. index appendix. index comments from William Peter Women in Horror films. 1940s. Blatty , William Friedkin, Linda Illustrated guide to Stephen King McFarland, 1999. ix-xi, 392p. illus. Blair and others. films up to 1991’s GOLDEN YEARS appendix. index and including his earlier television adaptations. Though not up to A detailed look at 21 actresses KING, Stephen date with his recent work its still from the golden age of horror film Bare Bones: conve r s ations on terro r. an interesting look into his films making. Not so much a commen- New English Library, 1989. 217p with a comprehensive synopsis, tary on the films themselves but full credit lists and Stephen King’s an insightful discovery of the stars In the same vein as Danse own thoughts on the films. If you and careers in the ‘star’ system of (below), only difference in are interested in Stephen King and Hollywood. Useful as background this text is that King was inter- are a fan this book is a worthwhile reading to the films, includes viewed for much of the material so read. selected filmographies of the play- we get more direct comments ers, information on the production from him. Focuses a lot on his own side of these films and a poll con- work so not that broad but still LUCANIO, Patrick ducted by the author amongst interesting all the same. Them or us: archetypal interpreta- people in the know to determine tions of fifties alien invasion films. who is the best Hollywood horror Bloomington, In; Indianapolis, In: actress of them all. KING, Stephen. Indiana Uni Press, 1987. 194p. illus. Danse Macabre. bibliog. MacDonald, Futura, 1981. 460p. bib- MARRERO, Robert lio. filmog. index. It is clear nowadays that science Vintage Monster Movies. fiction films are a genre to them- Key West, Fl: Fantasma Books, 1993. Stephen King’s take on the whole selves but in the 1950s when hor- 160p. illus. filmog. index. horror phenomenon. His own ter- ror directors looked to the skies for rors and inspirations coupled with their new monsters instead of the Useful quick reference guide to discussions on perennial classics ground, the issue wasn’t as horror films concentrating mainly such as Dracula to more recent straightforward and sci-fi was on the period 1930-1950. Also movies (nb publication date). Its deemed to be a sub-genre of hor- focuses briefly on the early silent not just a book on horror movies ror. This book using Jungian psy- horror films that aren’t usually but the entire milieu with an chology in particular aims to re- covered in general text books. The insight from a man who is examine this concept. language is simple and straightfor- arguably the best horror writer liv- ward, accompanied with excellent ing today. stills. MANK, Gregory William H o l ly wood Cauldron: thirteen horro r KUHN, Annette (ed.) films from the genre’s golden ag e . .McCARTHY, John. Alien zone: cultural theory and con- Jefferson, NC: McFarland, 1993. vii- The modern Horror Film: 50 con- t e m p o rary science fiction cinema. xxii. 404p. illus. chronology. index. temporary classics. London; New York: Verso, 1990. vl- New York: Carol, 1990. 244p illus. viii, 231p. illus. bibliog. Useful chronology from 1929-1948 of Hollywood horror. Looks in As the title suggests this is a This collection looks at the science depth at films that are often not review of 50 classics of the film from a cultural theory covered to such an extent else- genre, accompanying the text are point of view. Many of where, for example THE MASK OF excellent illustrations from the the chapters focus on ALIEN and and THE PICTURE OF films themselves. Each film is questions of gender and monstros- DORIAN GRAY. treated separately with a detailed ity. synopsis and production notes. Includes films not usually found in MANK, Gregory William texts such as the sequels to the KUHN, Annette (ed) Karloff and Lugosi: the story of a original PSYCHO and THE LAIR OF Alien zone II: the spaces of sci- haunting collaboration. THE WHITE WORM. ence fiction cinema. Jefferson, NC: London: McFarland, London; New York: Verso, 1999. 308p. 1990. 372p. illus. filmogs. teleogs. illus. bibliog. filmog. theatreogs. index McCARTHY, John. Movie psychos and madmen. Film A further slice of analysis, but the A systematic look at the careers psychopaths from Jekyll and Hyde two chapters on the ALIEN fran- and joint films of these two giants to Hannibal Lecter. chise that are most relevant to this of the horror world. Well New York: Carol, 1993. guide. researched, easy to follow, and a fascinating look at the films of A well researched text book that Universal and RKO which they offers a solid introduction to this shared in making. particular topic. Contains excellent black and white photographs, and a useful filmography of film psy-

BFI National Library 6 chos. The text isn’t over laden with NOLLEN, Scott Allen PAUL, William analysis but presents a straightfor- Boris Karloff: a critical account of Laughing screaming: modern ward look at the films, also his screen, stage, radio, TV and Hollywood horror and comedy. includes a chapter on female film recording work. New York: Columbia University psychos. Jefferson, NC; London: McFarland, Press, 1994. 510p. [4] plates. index 1991. 473p. illus. appendices. index A unique text looking at American MENDIK, Xavier Excellent biography of one of the films from the 1970s and 1980s Necronomicon presents shocking leading men in the horror genre. which were immensly popular at cinema of the seventies. The author focuses on the major the box office but barely tolerated Hereford: Noir Publishing, 2002. 228p. films Karloff was involved in mak- by critics – the ‘ movie’. illus. index. ing including , The author divides this phenome- FRANKENSTEIN and THE RAVEN, non into two genres, horror and Focuses on American horror cine- taking these films as examples of comedy, and looks to explain the ma of the 1970s. Offers analysis a particular trait in horror movies link between the two. Focusing par- and theory with good use of films and with critical analysis offers us ticularly on David Cronenburg and to illustrate the arguments. Mainly useful interpretations of these Stanley Kubrick. concerned with discussing how texts. All the time he keeps in the horror of the seventies fitted in mind the unique influence of with the social and political cli- Karloff. PINEDO, Isobel Christina mate, and how it was borne out of R e c r e ational terror: women and the things like Watergate, Vietnam, pleasures of horror film view i n g . Civil Rights Movement. Provides a ODELL, Colin Albany, NY: State University of New sound overview of the whole The pocket essential horror films. York Press, 1997. vii-xiii, 177p. illus. decade: recommended text. Harpenden, Herts: Pocket Essentials, bibliog. index 2001. 96p. It’s rare to find a book that NEWMAN, Kim Indispensable starting point to the explores the relationship between The BFI companion to horror. theory and criticism of horror the horror genre and its female London: Cassell/British Film films. Useful chapters defining audience let alone one which isn’t Institute, 1996. 352p. illus. what makes a horror film, histori- too over-analytical or intellectual cal and contemporary examples of with its use of language. Clearly a A complete guide to the horror the “best” horror films. Features labour of love for the author, this genre, focusing not only on the analysis of the ten “best” horror recently published text includes cinema, but also literature, televi- including James Whlae, films such as and the sion, radio, history and folklore. Tod Browning, George A. Romero remake of NIGHT OF THE LIVING Covering classic artists such as and Wes Craven. DEAD. Separated into five chapters Boris Karloff and Edgar Allen Poe, covering; race, post-modern ele- genre giants Hammer Pictures, ments to the modern hor- and Alfred Hitchcock. The author PAGLIA, Camille ror film and women also focuses on less expected The birds. and the . names making this one of the London: British Film Institute, Not only does this most comprehensive reference 1998. 104p. illus. (some col.). book look at horror books around. (BFI Film Classics). audiences but also offers analysis of R e a d able study of the film women’s roles in the NEWMAN, Kim whose beak marks can be seen genre. Nightmare movies: a critical histo- in such subsequent ‘nature ry of the horror film, 1968 - 88. attacks’ horrors as JAWS and London: Bloomsbury, 1988. (New ed.). P I R A N H A . Pag l i a , h oweve r, 251p. illus. bibliog. index. focuses on the surreal elements of the The nightmare movie, according to f i l m , and also, Newman, begins with NIGHT OF more conven- THE LIVING DEAD, which he t i o n a l l y , describes as the first horror film to looks at its be overtly subversive. His survey c o n c e r n takes in all strands of horror post- with ques- 1968, from Hammer to HAL- tions of gen- LOWEEN. Newman also allows der and the films into his “nightmare” category family. that are not strictly horror (such as APOCALYPSE NOW) and suggests that, in 1988, the horror genre is stagnating and hybrids of different genres are taking its place.

Phantom of the Opera (1925)

BFI National Library 7 PIRIE, David REBELLO, Stephen ROBB, Brian J. A heritage of horror: the English Alfred Hitchcock and the making Screams and nightmares: the gothic cinema 1946-1972. of Psycho. films of Wes Craven. London: Gordon Fraser, 1973. 192p. ill New York: Dembner Books, 1990. vii- London: Titan Books, 1998. 191 p. us. filmog. index. x, 224p. [16] plates. bibliog. index. illus. filmog. bibliog.

Over 20 years old but ground- Exhaustively researched account Covers Craven’s career from LAST breaking at the time and still an of the film. Rebello tells the whole HOUSE ON THE LEFT to SCREAM and important study, Pirie’s history story from its origins in SCREAM 2. Well illustrated, with of the English/British horror film Robert Bloch’s novel (inspired by plentiful comments from the takes as its starting point the real life killer Ed Gein), through director himself. influence and tradition of the shooting, post-production, English gothic novelists of the late release and finally a look at the 18th and early 19th centuries. many films influenced by PSYCHO. ROCKOFF, Adam Includes chapters on Going to pieces: the rise and fall of and Hammer’s the slasher film, 1978 – 1986. Frankenstein and Dracula films, RIGBY, Jonathan Jefferson, NC; London: McFarland, “Sadian” movies (such as English Gothic: a century of horror 2001. ix, 214p. PEEPING TOM) and WITCHFINDER cinema. illus.notes.appendix.bibliog.index. GENERAL director . 2nd ed. Richmond, : Reynolds & Hearn Ltd. 2002. 272p. illus.source Rockoff takes ’s notes.index. Halloween as a starting point in PITTS, Michael R his examination of the slasher Horror Film Stars. A comprehensive guide to horror film, arguing that the new genre Jefferson, NC: McFarland, 1991. in British cinema from the silent became a pop-cultural phenome- era up to the 1990s. The main peri- non which, aided by unconven- Focusing on the relationship od of production, from the 1950s tional means of distribution, exhi- between the horror film and its to the 1970s, is dealt with in detail bition and marketing, had a radi- stars. This well researched text and 100 titles have been picked cal effect on American cinema. emphasises the symbiotic rela- out for more in-depth analyses, Rockoff examines central motifs tionship that is inherent in the which include reviews and com- and contextualises the slasher horror genre, highlighting the par- mentaries. Rather than just isolat- genre by discussing the impor- adox that the genre turned many ing the films the book discusses tance of films such as PSYCHO and actors into stars but it is through them within the context of British THE TEXAS CHAINSAW MASSACRE the star’s popularity that the hor- film-making and the political and and discusses its resurgence in the ror genre gained mass audience social climate in the country. The 1990s with films like Scream and I appeal. second edition contains a section K N OW W H AT YOU DID LAST SUMMER. on horror in British television.

QUARLES, Mike RODLEY, Chris (ed.) Down and Dirty: Hollywood’s RIGBY, Jonathan Cronenberg on Cronenberg. exploitation filmmakers and their American Gothic: sixty years of London: Faber & Faber, 1992. (Rev. movies. horror cinema. ed.). vi-xxiv, 23op. illus. filmog. bib- Jefferson, NC: McFarland, 1993. vii- 1st ed. Richmond, Surrey: Reynolds & liog. index. xii. 193p. illus. index. Hearn Ltd. 2007. 321p. illus.source notes.index. Series of interviews with From early exploitation films from Cronenberg, covering his career the 1930s to more recent movie An study of American horror films from early student films up to making, this is a well crafted col- from 1897 to 1956. The subject is CRASH. lection of essays focusing specifi- explored chronologically and Rigby cally on the movie makers them- unearths many rare silent titles selves. How they broke the mould while covering the boom period in ROVIN, Jeff and the taboos surrounding their the 1930s in the greatest depth. From the land beyond beyond: the films. 100 titles have been selected for films of William O’Brien and Ray more detailed analyses, including Harryhausen. brief contemporary reviews and New York: Berkley Windover Books, RASMUSSEN, Randy Loren commentaries by personnel. 1977. 272p. illus. index. Children of the night: the six Although its roots are in European archetypal characters of classic literature, horror as a Though dated, this is a unique horror films. was born in Hollywood, hence the book including useful stills of the Jefferson NC: McFarland, 1998. vii wealth of material means this films of O’Brien and Harryhausen. 269p. illus. index. book can only cover the first half It praises the pioneering efforts of of the story. photography that A systematic look at the six arche- made such films as JASON AND types of classic horror films, a THE ARGONAUTS and CLASH OF good book for exploring genre THE TITANS possible amongst hor- characters and an insightful look ror classics and discusses in detail at earlier horror films. Easily the legacy left by these two film arranged in six chapters. makers.

BFI National Library 8 SEVASTAKIS, Michael cultural and cinematic context. incarnations of monstrosity such Songs of Love and Death: the clas- as the sical American horror film of the STINE, Scott Aaron zombies and the 1930s. The gorehound’s guide to splatter monster in ALIEN. Taking a psy- Westport, CT; London: Greenwood films of the 1960s and 1970s. choanalytic approach, Twitchell Press, 1993. 208p. bibliog. index. Jefferson, NC: London, 2001. v-vii, sees these films as “fables of 296p.; illus.appendices.index. sexual identity” which serve a use- Another look at the horror from ful social function. Hollywood’s golden age but this Essentially an A-Z of splatter films time from the perspective of the from the 1960s and 1970s which Gothic literature the films evolved may in itself be of interest in order WAITER, Stanley from. Each chapter examines indi- to gauge the kind of material being Dark Visions: conversations with vidual works of Gothic literature made during this period. However, the film. and cross examines them against more worthy of note for the stu- New York: Avon, 1992. 228p. illus. the films, focusing in particular on dent is the history of the genre’s the hero/villain dynamic and the development which precedes the Conversations and interviews with use of mise-en-scene. Overall an main bulk of the text. This pro- classic horror stars and modern interesting text. vides an historical overview of the movie makers, such as John genre, identifying key films and Carpenter, Wes Craven and Sam stages in its development and its Raimi. Gives an interesting insight SILVER, Alain & URSINI, James impact on the horror genre overall. into the minds and lives of these The Vampire Film: from Nosferatu masters of the horror genre. to Interview with a Vampire. 3rd edition. New York; Limelight THORNHAM, Sue Editions, 1997. 342p. illus. bibliog. Feminist film theory: a reader. WALLER, Gregory A. index. New York: New York University Press, The living and the undead: from 1999. vi 361p. bibliog. index. Bram Stoker’s Dracula to Romero’s From an introduction about where Dawn of the Dead. vampire lore came from, to the Collection of essays from the lead- Urbana, Ill: Chicago Ill: University of very latest incarnation of it upon ing feminist film writers of the Illinois Press, 1986. 377p. illus. index; our screens, this is an excellent day, including B.Ruby Rich, Mary text. Succinct chapters that aren’t Ann Doane and Laura Mulvey. Vampires again but this time look- over-written with too much psy- Each chapter is separated into spe- ing at the conflict between the liv- choanalysis cover a wide milieu of cific topics with an introduction, ing and the undead. It not only vampire films. Also has an exten- excellent references and resources details vampire films but focuses sive filmography and index recom- for further exploration of the sub- on other films featuring the mending different studies of vam- ject. Contains a section devoted to undead such as the LIVING DEAD pires that are currently on the women in the horror genre and is films and attempts to clarify why market. a “must read” for anyone interest- society is so pre-occupied with the ed in this subject. living dead.

SKAL, David J. The Monster Show: a cultural his- TURNER, George E & PRICE, WALLER, Gregory A. (ed.) tory of horror. Michael H American horrors: essays on the New York: Norton, 1993. 432p. illus. Forgotten Horrors: The Definitive modern American horror film. index Edition. Urbana. IL; Chicago: University of ; Midnight Marquee Press, Illinois Press, 1987. 228p. illus. filmog, Chronicles America’s most popular 1999. 288p. illus. index. bibliog. index. and pervasive modes of cultural expression. America has had a Informative look at the early hor- This collection identifies NIGHT OF long love affair with the horror ror films, covering the period 1929- THE LIVING DEAD as the first mod- genre and this book attempts to 37. Arranged chronologically each ern horror film. R.H.W. Willard’s explain its impact on American entry has a cast list, synopsis and close reading of the film suggests social history. A useful text. incidental notes on the stars plus Hitchcock’s THE BIRDS is its closest reproductions of the original antecedent and identifies the posters used to advertise the films. film’s utter nihilism as the source SLATER, Jay of its enduring power. Other Eaten alive: Italian cannibal and essays look at films from the movies. TWITCHELL, James B. broadest sweep of the genre’s London: Plexus, 2002. 256p. Dreadful pleasures: an anatomy of spectrum, including THE HOWLING, illus.notes.filmog. modern horror. DON’T LOOK NOW, ROSEMARY’S New York: Oxford University Press, BABY and DRESSED TO KILL. Focusing on the period from the 1985. 353p. illus. bibliog. index. 1970s to the early 1990s, this book provides an extensive study of the Well-written and clearly explained Italian cannibal/zombie sub-genre study which looks in detail at of horror film. The book contains three mainstays of the horror a large number of articles and film - Dracula, Frankenstein and reviews which seek to place this the Werewolf - and more broadly aspect of Italian cinema within a at then relatively recent

BFI National Library 9 WEAVER, James B. III and TAM- at 70s horror, particularly the films BORINI, Ron (eds.) of , Wes journal articles H o r ror films: current research on audi- Craven, George A. Romero and ence preferences and reactions. Brian De Palma. The closing chap- CINEFANTASTIQUE Mahwah, NJ: Lawrence Erlbaum ters look at Stephen King Vol.36. No.4. Oct/Nov 2002 Associates, 1996. vii-x, 206p. figs. adaptations and 90s horror includ- biogs. indices. ing THE SILENCE OF THE LAMBS and Top 25 list of horrors top ‘kings’ – MANHUNTER. not as sexist as you’d think, for in Various methodological and theo- the past the horror genre’s ‘scream retical approaches to audience queens’ have received a lot of col- research are brought WOLF, Leonard umn space. This article tries to together in this collection of Horror – a connoisseur’s guide to redress that balance somewhat. essays, which begins with an literature and film. Starts with in the top attempt to define and categorise New York; Oxford: Facts on File, 1989. spot, and includes detailed profiles the genre, followed by an essay 262p. illus. bibliog. index. of Bruce Campbell, Boris Karloff which traces horror’s origins back and Kane Hodder. A short career to initiation rites in ancient This text is an efficient ency- profile accompanies all 25 entries. hunter-gatherer societies. Other clopaedia on horror films ranging essays explore such topics as the from the very best of the genre to economics of the horror the most banal. Each entry has its SPECTATOR film and the effect of watching own review which is more analyti- Vol.22. No.2. Autumn 2002 horror films on social behaviour. cal than in some other texts on the subject. Axes to grind: re-imagining the horrific in visual media, (ed) WEAVER, Tom Harmony Wu Attack of the mak- WOOD, Robin ers: interviews with 20 genre Hollywood from Vietnam to Whole issue dedicated to examin- giants. Reagan. ing the horror genre now film the- Jefferson, NC: McFarland, 1994. vii-xi: New York; Guildford, Surrey: ory and visual media itself has 384p iilus. filmogs. index Columbia University Press, 1986. moved on. Some essays are easier 328p. illus. bibliog. index to read than others, all are con- Twenty interviews ranging from cerned with re-imagining the hor- the stars to the directors working Written from what some might rific in our visual media and cul- in the golden age of horror film call a radical political viewpoint, ture. Films examined include THE making. Interesting insight into this outspoken book reviews the BLAIR WITCH PROJECT, Hisayasu what went on behind the scenes transition in American film from Sato’s NAKED BLOOD, as well as the of the films that you don’t get with the 1970s to the 1980s. Through a subject matter of vampires, inter- general texts on the subject. Nice mixture of Marxist, feminist and active horror computer games, and accompaniment to a subject. psychoanalytical film theory the Zombie films from the mid-west- book contains several previously ern states of America. inaccessible essays on the horror WEAVER, Tom genre by one of the most out- Poverty row horror! Monogram, standing film theorists of today. PRC and Republic horror films of the 40s. Jefferson, NC: McFarland, 1993. 376p. WRIGHT, Bruce Lanier illus. filmogs. index. Nightwalkers: gothic horror movies - the modern era. A useful text which examines Dallas, TX: Taylor Publishing what it was about these studios Company, 1995. 171p. illus. bibliog. and the films that they produced index. which meant they were ignored by critics of the time but adored by S t u dy of British and A m e r i c a n the horror loving filmgoers. With a “gothic” horror films, which takes good introductory chapter. as its starting point Hammer’s THE CURSE OF FRANKENSTEIN. Chapter 10 - “Epilogue - The End of Horror?” WILLIAMS, Tony - charts the demise of Hearths of darkness: the family in H a m m e r, the rise of the American horror film. slasher movies and the London: Associated University few attempts at cine- Presses, 1996. 320p. bibliog. index. matic gothic horro r p o s t - 1 9 7 6 , i n c l u d i n g Williams argues that the place of M A RY SHELLEY’S the family is central in the F R A N K E N S T E I N, B R A M American horror film. His study STOKER’S DRACULA and takes in Universal horror films of I N T E RVIEW WITH T H E the 1930s, Val Lewton’s RKO B- VAMPIRE. movies and Hitchcock’s THE BIRDS and PSYCHO. He looks Psycho (1960)

BFI National Library 10 JOURNAL OF POPULAR FILM AND LITERATURE FILM QUARTERLY SIGHT AND SOUND TELEVISION Vol.24. No.2. 1996, pp.193-200 Vol.5. No.1. January 1995, pp.8-11 Vol.29 No2. Summer 2001, p63-73 Coveting The Feminine: Victor Bloody Tales, by Amy Taubin Final girls and terrible youth: Frankenstein, Norman Bates and transgression in 1980s slasher Buffalo Bill, by Diane Negra A discussion on the power of the horror, by Sarah Trencansky image of blood in modern horror Heavily theoretical article which films. Taubin links the Excellent article concerned with examines the similarities between modern pre-occupation with blood how gender is represented in the in and gore in entertainment with slasher films popular in the 1980s. Mary Shelley’s novel and the char- the spread of AIDS. It examines how typical gender acters of Norman Bates in PSYCHO INTERVIEW WITH THE VAMPIRE is roles are transgressed and and Buffalo Bill in THE SILENCE OF compared unfavourably with THE reversed in these films, affording a THE LAMBS. The premise is that ADDICTION and NADJA which are more powerful role for the female the “monstrous” often involves seen as more accomplished, and characters to embody and for crossing gender boundaries and less bloody, AIDS-anxiety fan- female spectators to identify with. that psycho-sexual development is tasies. Focusing on the NIGHTMARE ON arrested by childhood trauma. ELM STREET series, but drawing on evidence from other films in that SIGHT AND SOUND genre such as and FRI- INDEX ON CENSORSHIP Vol.4. No.12. Dec 1994, pp.14-17 DAY THE 13TH. Finishes with a Vol.24. No.6. 1995, pp.59-68 brief discussion of the difference Learning To Scream, by Linda between the ‘Final Girls’ of 1980s Horror: On the edge of Taste. Williams slasher films to the ones in the Horror films present the censor 1990s such as SCREAM and I STILL with a problem: how to make An account of the audience reac- KNOW WHAT YOU DID LAST SUM- ‘acceptable’ a genre that deals tion to PSYCHO when it was MER. with the ‘unspeakable’, released in 1960, describing the by Mark Kermode attendant marketing gimmicks including three trailers and a SIGHT AND SOUND Discusses the problem censors training film aimed at coaching Vol.8. No.7. July 1998, pp.6-11 encounter with horror films and cinema managers in showing the the films cut or banned by the film and policing the audience. Lucifer Rising, by Mark Kermode British Board of Film Classification This article is illustrated with stills (BBFC). Article also mentions the of the audience both before and On the 25th anniversary re-issue phenomenon of ‘video nasties’ and during the watching of the film of THE EXORCIST this article dis- how horror videos are perceived in which are used as evidence that cusses the public reaction society. Analyses the films the the power to shock in PSYCHO lies to the original release, the history BBFC have cut, including THE EVIL in its destabilisation of gender of the screenplay, issues of censor- DEAD. roles. ship, the filming and the new documentary THE FEAR OF GOD made about the film. PREMIERE SIGHT AND SOUND Vol.9. No.2. October 1995, pp.88-101 Vol.3. No.6. June 1993, pp.6-8

FILM COMMENT In The Grip of JAWS, by Nancy Terror Master: From THE HOWL- Vol.32.No.4. July/Aug 1996, pp.76-79 Griffin ING to his new film MATINEE, has explored horror. He PSYCHO: Not Guilty As Charged, On the 20th anniversary of the talks about fear, special effects by James Griffith release of JAWS , and THE MUMMY to Mark Richard Dreyfuss and Kermode. Previous theoretical criticism of others involved in the making of PSYCHO has suggested that the the film talk about their experi- Interview with Joe Dante, who viewer identifies with the ences on the shoot. talks about the history of the hor- character of Norman Bates ror film, its development, its posi- through point-of-view shots and tion worldwide and the connection thus becomes complicit in, and EMPIRE between horror and reality. obtains release through, his No.73. July 1995, pp.78-85 Includes a filmography of Dante’s crimes. Griffith puts forward the films. theory that the audience does Raiders Of The Lost Shark, by not automatically identify with a Mark Salisbury and lan Nathan character through p.o.v. shots as SIGHT AND SOUND throughout PSYCHO there Comments on the book, screen- Vol.3. No.6. June 1993, pp.10-12 are so many such shots from a play, casting, the shark and the variety of different characters as reaction to JAWS from the Ghoul School: is the horror genre well as close ups of writers and film-makers. Includes now exhausted? Mark Kermode characters at highly dramatic ten useful facts about the film, a talks to some of its creators. moments, creating a far more list of films inspired by it complex process of and a description of the twelve Article discusses various aspects identification. most effective scenes. of horror films with different

BFI National Library 11 directors and writers of horror. Interviewees include Wes Craven and Clive Barker. CASE STUDIES

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

The Transvestite As Monster: STARBURST Gender Horror In THE SILENCE OF No. 207 November 2000, THE LAMBS and pp.36-43 PSYCHO, by Julie Tharp Starbeast to resurrection: Examines the similarities between the ALIEN saga, by Howard PSYCHO and THE SILENCE OF THE Maxford LAMBS especially in their construc- tion of sex and gender, homosexu- A complete detailed ality and transvestism. The author overview of how the ALIEN explores the characterisation of saga came in to being, the Hannibal Lecter in depth, arguing people behind the scenes that it goes against the usual from the money men to the crew. Excellent material for psychological portrait of a killer in SIGHT AND SOUND modern fiction. providing context and insight to Vol.7 No.12. December 1997, pp.6-9 LITERATURE FILM QUARTERLY accompany more serious study. Vol.4. No.3. Summer 1976, pp.196-214 Incudes budget, special effects and Born Again, by Michael Eaton box office information. THE EXORCIST and JAWS, by Brief analysis of the first three Stephen E. Bowles films then a detailed look into METRO Alien Resurrection. Examines the Two-part article comparing THE No.116. 1998, pp.30-35 main concepts and ideas behind EXORCIST with JAWS. The first part the film, and offers the analysis identifies the various cinematic Ambiguity, Perversity and Alien that in order to remake itself, the techniques used to evoke horror in Resurrection, by Colleen Keane franchise has to plunder several both films particularly the use of different genres each time around. sound, examines their realism and A discussion of ambiguity, ambiva- In Alien Resurrection’s case, the places them in the context of the lence and perversity in the four theme of genetic modification and history of the genre. The second ALIEN films, most notably Alien alien abduction are key. part concentrates on the adapta- Resurrection. Quite a detailed arti- tion of novel to screen especially cle, but worth persevering with. those elments which have been FILM and PHILOSOPHY changed in order to generate sus- Vol.3. 1996 pp. 167-175 pense in the films. The author POSTSCRIPT argues that characterisations and Vol.16 No.3. Summer 1997, pp.36-50 Changing perspectives of mother- human relationships have been hood: images from the Aliens tril- sacrificed to resulting in Some Horrible Dream About ogy, by Valerie Gray Hardcastle a lack of morality. (S)mothering Sexuality, gender and family in the ALIEN trilogy, by Starts of with a handful of quotes Chad Hermann from critics on discussions of the SCREEN INTERNATIONAL Ripley character which is useful in 3 January 1976, p.5 Unlike critic Barbara Creed, itself, goes on to discuss the wider Hermann sees the film ALIEN as a implications of the changing char- JAWS From A Different View, by parable of paternity, not maternity, acter and its implications for the Dr. Dennis Friedman and masculine anxieties about feminist/motherhood dynamic. becoming a mother. From this A psychological explanation for base, however, Alien develops from the success of JAWS with cinema- the theme of phallic menace to FOCUS MAGAZINE goers, arguing that on an represent the fear of the powerful No.14. 1994, pp.7-17 unconscious level we identify with evil mother. Through discussion of the shark and through it vent our all three films, Hermann shows Containing Horror. The ALIEN primal urges. The film is how the trilogy centres around trilogy and the Abject, by Joseph also presented as an “oral” text; gender, sexuality and the family. In Chien from its single syllable title to its the end it is technology and the emphasis on greed as a Company which endures and sur- Chien argues that the figure of the human weakness unconsciously vives at the expense of the con- Alien is aligned in its form with satisfied by the uncontrollable cept/reality of the family and all many former fear-inspiring mon- shark. those who play a biological part sters. The horror also derives from within it. both the Alien being seen as a pos- sible preview of humanity’s future and as a creature that may

BFI National Library 12 become human. The article then trayal of female sexuality in the centres on exploring what Kristeva film, both of which he sees as rele- has termed the ‘abject’, which is Dracula vant to the 1990’s. identified in the film as female and also the breakdown of identity and order. books STARBURST No.176. April 1993, pp.36-39 COPPOLA, Francis Ford and HART, SIGHT & SOUND on DRACULA. James V. Vol.2 No.3. July 1992, pp.8-10 Part 2. Interview with Francis Ford Bram Stoker’s Dracula: the film Coppola, by Mark Bermann. and the legend. Invading Bodies. ALIEN? and the London; Basingstoke: Pan Books, trilogy, by Amy Taubin 1992. 172p. illus. bibliog. filmog. Coppola continues his interview with discussions about the charac- Discussing how Ripley’s maternal Very similar format to the book of ter of Van Helsing, the instincts develop through the film, Branagh’s MARY SHELLEY’S portrayal of Dracula as evil and Taubin sees the films as represen- FRANKENSTEIN, ie includes also romantic, and the presenta- tations of various social anxieties screenplay, details on set design tion of Dracula’s vampire including feminism, female fecun- etc. Coppola’s introduction, like brides. He concludes by arguing dity, homosexuality and AIDS. Branagh’s, puts the case for a that major studios want ordinary While the films focus on the faithful adaptation of Stoker’s films but that he is always themes of sexual identity, the fam- novel but, at the same time, tries attracted to the exotic. ily and the role of the mother, to justify the film’s major depar- Taubin argues that the ambiva- tures from the original text. lence Ripley feels for the alien LITERATURE/FILM QUARTERLY growing inside her, demonstrates a Vol.18. No.2. 1990, pp.116 -121 particularly complicated emotion LEWIS, Jon DRACULA and Mephistopheles: which is movingly portrayed at the Whom God wishes to destroy: Shyster Vampires, by William end of ALIEN?. Francis Coppola and the new Thomas McBride Hollywood. Durham, NC; London: 1995. ix. CINEACTION! 194p. illus. index. McBride argues that the portrayal No.30. Winter 1992, pp.54-62 of Dracula in Tod Browning’s 1931 Looks at the director’s career version, is partially informed by Explosions, Prosthetics and from an institutional point of anti-Semitism which fed the vam- Sacrifice. Phantasies of the view, considering Coppola as an pire myth. Focusing on Dracula’s Maternal Body in the ALIEN working within and with- appearance and concern with legal trilogy, by Carol Moore and Geoff out the major Hollywood studios. contracts, the article highlights the Miles. Charts the rise and fall of alignment of Dracula with the Zoetrope Studios, Coppola’s grad- association, in literature, Using the analysis of Klein, a psy- ual reemergence as a director of Jew, lawyer and bloodsucker. choanalytic writer, the authors dis- with box-office clout and the suc- McBridge continues to show how cuss the ALIEN trilogy in 3 parts cess of BRAM STOKER’S DRACULA. the Dracula myth is connected to seeing them as three representa- Shylock, Fagin and tions of infantile phantasies of the Argues that Coppola hoped MARY Mephistopheles, and is forced to mother’s body. The first film SHELLEY’S FRANKENSTEIN would serve as scapegoat within a pro- expresses the infant’s internal be a big hit, thus giving him a Christian context. exploration of the mother, the sec- sufficiently strong position in the ond, the notion of the combined industry to establish more control parents and the ‘phallic’ mother, over the production, exhibition PHOTON and the third film, maternal sacri- and distribution of his own films. No.27. 1976, pp.22-35 fice and death. Horror of Dracula. An Analysis of the Hammer film classic, by journal articles Ronald V Borst

Borst explains in great detail the STARBURST work of key individuals behind the No.175. March 1993, pp.26-29 Hammer films and the process involved in producing Dracula (in Francis Ford Coppola on DRACULA. US - Horror of Dracula). The article Part 1 of 2 part interview with discusses the portrayal and char- Francis Ford Coppola, by Mark acter of Dracula, ’s Bermann. script, Terence Fisher’s direction and his revisions. After providing Coppola talks about his interest in details of the shooting schedule, the story of Dracula, horror films the film’s marketing and release, and the importance of Borst outlines the film’s initial visual style. He discusses the reception in England and the US. power of and the por- He concludes that

BFI National Library 13 none of Hammer’s subsequent CARTMELL, Deborah et al. (eds.) GLUT, Donald F. horror films has endured and that Pulping fictions: consuming cul- The Frankenstein Catalog. Dracula is a modern classic ture across the literature/media Jefferson, NC; London: McFarland, of its genre. divide. 1984. 525p. illus. bibliog. filmog. London; Chicago: Pluto Press, 1996. teleog. 160p. index. Exhaustive reference guide to all Includes essays on MARY SHEL- things ‘Frankenstein’. An easy to LEY’S FRANKENSTEIN and follow, detailed catalogue with Branagh’s HENRY V. In the for- over 2500 entries. mer, Heidi Kaye finds Branagh’s professed feminist sympathies wanting and suggests that both IACCINO, James F. the text of the film and aspects of Psychological reflections on cine- its production privilege relation- matic terror: Jungian archetypes ships between men over those in horror films. between men and women or Westport, CT; London: Praeger, 1994. women and their children. 217p. appendices. bibliog. index

Iaccino sees Frankenstein as DOUGAN, Andy embodying the Jungian alchemist Untouchable: Robert De Niro archetype, that is, one who can unauthorised. discover the divine essence in London: Virgin Books, 1996. v. 312p. base material but in doing so Dracula (1958) [16] plates. filmog. bibliog. index. runs the risk of unleashing the dark “shadow side” from his Includes information on the mak- unconscious. Films discussed ing of MARY SHELLEY’S FRANKEN- include FRANKENSTEIN CREATED STEIN, with comments from WOMAN, FRANKENSTEIN AND THE Frankenstein Kenneth Branagh, Helena MONSTER FROM HELL, FRANKEN- Bonham-Carter and others. STEIN: THE TRUE STORY and FRANKENSTEIN UNBOUND. books GATISS, Mark : a biography, or the JONES, Stephen BRANAGH, Kenneth would-be gentleman. The illustrated Frankenstein Beginning. London; New York: Cassell, 1995. vi. movie guide. London: Chatto and Windus, 1989. 182p. [8] plates. appendix. bibliog. London: Titan Books, 1994. 143p. 244p. illus. index. illus. index. bibliog. (Titan illustrat- ed movie guide; no.3) Autobiography. Covers Branagh’s Looks at FRANKENSTEIN and THE life and career up to and includ- , highlight- Decade by decade listing of ing the production of the film ing their religious and sexual sub- Frankenstein and Frankenstein HENRY V. texts. Concentrates on Whale’s influenced films, including some input but also pays attention to with a fairly tenuous connection. the studio’s contribution, cuts Includes profiles of Terence BRANAGH, Kenneth, LADY, Steph made by the censors and com- Fisher, Boris Karloff and Colin and DARABONT, Frank ments from the actors. Clive amongst others. Mary Shelley’s Frankenstein: the classic tale of terror reborn on film. GLUT, Donald F. PARKER, John New York, NY: Newmarket Press, The Frankenstein legend: a tribute De Niro. 1994. 191p. illus. credits. filmog. to Mary Shelley and Boris Karloff. London: Victor Gollancz, 1995. 255p. bibliog. Metuchen, NJ: Scarecrow Press, [16] plates. filmog. index. 1973. 372p. illus. index. Includes screenplay and produc- Biography which includes infor- tion details, with particular atten- Exhaustive chronicle, beginning mation on the making of MARY tion paid to the design, cine- with the original novel and SHELLEY’S FRANKENSTEIN, includ- matography, score, costumes and detailing theatre, film, radio, liter- ing comments from Kenneth make up. There are also profiles ary and comic-book adaptations. Branagh and press reactions. of the leading actors with reasons Individual chapters on the for their casting. Universal and Hammer versions. SHUTTLEWORTH, Ian In the introduction, Branagh Ken and Em: a biography of explains why he wanted to make Kenneth Branagh and Emma a faithful screen adaptation of Thompson. Mary Shelley’s novel, and also Chatham: Headline, 1994. 248p. [16] why he introduced significant plates. changes. Covers Branagh’s acting and film career, including MARY SHELLEY’S

BFI National Library 14 FRANKENSTEIN. Considers provides an overview of films in transforming Robert De Niro in Branagh’s place in the British film from the Frankenstein stable, MARY SHELLEY’S FRANKENSTEIN. industry, his approach to film beginning with a discussion of The article refers to monsters in making , including raising the original novel. Compares the other film versons of Shelley’s finance, casting and his role as young, doubting Frankenstein of novel and how Branagh’s creature actor/director. the novel and Universal films to differs in its character. ’ s older, ruthless character in the Hammer cycle. TROPP, Martin Also discusses ’s AMERICAN CINEMATOGRAPHER Mary Shelley’s monster: the story FRANKENSTEIN UNBOUND and Mel Vo l . 7 5 . N o. 1 2 . Dec 1994, p p. 4 2 , 4 4 , 4 6 , 4 8 of Frankenstein. Brooks’ . Boston, MA: Houghton Mifflin, 1976. CFC’s Effects Give Life to MARY 192p. plates. bibliog. filmog. index. SHELLEY’S FRANKENSTEIN. WRIGHT, Bruce Lanier Computer Film Company used Critical history of the novel and Nightwalkers: gothic horror modern methods to invigorate subsequent adaptations, including movies - the modern era. Kenneth Branagh’s reinvention of the Universal and Hammer Dallas, TX: Taylor Publishing classic horror tale, by Ron Magid Frankenstein films, US television Company, 1995. 171p. illus. bibliog. versions and YOUNG FRANKEN- index. Article discusses digital imaging STEIN. used in various scenes in the film, Study of British and American including the scene bringing the “gothic” horror films, which takes monster to life. Former film ver- TWITCHELL, James B. as its starting point Hammer’s sions of Shelley’s novel are briefly Dreadful pleasures: an anatomy of THE CURSE OF FRANKENSTEIN. discussed, as is the theme of the modern horror. Chapter 10 - “Epilogue - The End power of inanimate objects preva- New York: Oxford University Press, of Horror?” - charts the demise of lent in Branagh’s version. 1985. 353p. illus. bibliog. index. Hammer, the rise of slasher movies and the few attempts at Using a psychoanalytic approach, cinematic gothic horror post- CINEFANTASTIQUE Twitchell looks in detail at the 1976, including MARY SHELLEY’S Vol.25. No.6/vol. 26 no.6 Dec 1994/Jan sexual subtexts (including bisexu- FRANKENSTEIN, BRAM STOKER’S 1995, pp.6-9 ality and incest) in Shelley’s novel DRACULA and INTERVIEW WITH and how, in subsequent film THE VAMPIRE. MARY SHELLEY’S FRANKENSTEIN, adaptations, these become by Alan Jones increasingly foregrounded. Films discussed include THE BRIDE OF Article on Kenneth Branagh’s FRANKENSTEIN, FRANKENSTEIN journal articles MARY SHELLEY’S FRANKENSTEIN in CREATED WOMAN, YOUNG comparison with other FRANKENSTEIN and THE ROCKY FILM COMMENT Frankenstein adaptations. HORROR PICTURE SHOW. Vol.31. No.1. Jan/Feb 1995, pp.17-29

Really a Part Of Me. Shelley and URSINI, James and Alain Silver Stoker conjured up bodies and More things than are dreamt of: pictures. In movies, the body is masterpieces of supernatural hor- commonplace; but for those ror from Mary Shelley to Stephen authors it was a divine mystery King - in literature and film. still, by David Thomson New York, NY: Limelight, 1994. 196p. illus. filmog. bibliog. index. A n a l ysis of M A RY SHELLEY’S F R A N K E N S T E I N, I N T E RV I E W A useful survey which looks at WITH THE VAMPIRE and JUNIOR, selected “classics” of supernatu- focusing on the theme of ral/horror literature and the i m m o r t a l i t y, c reation and film adaptations thereof. Proceeds youth in the films. The article chronologically, beginning with includes comparisons of Mary Shelley and the M A RY SHELLEY’S FRANKEN- lesser known works of Bram STEIN with FRANKENSTEIN, the Stoker, takes in Poe and Lovecraft, 1931 film version of the novel. R.L. Stevenson, Oscar Wilde, Arthur Machen and the stories of the two Jameses, A M E R I CAN CINEMATO G R A P H E R M.R. and Henry. The final Vo l . 7 5 . N o. 1 2 . Dec 1994, p p. 3 4 - 3 8 , 4 0 chapter focuses on modern horror including a look at David New Look for Classic Creature. Cronenberg’s version of Stephen Transforming Robert DeNiro into King’s THE DEAD ZONE and Robert Mary Shelley’s mythical monster, Wise’s film of Shirley Jackson’s by Ron Magid THE HAUNTING [of Hill House]. Daniel Parker, makeup Chapter 1 - “The Prometheans” - artist, talks about his work Frankenstein (1931)

BFI National Library 15 EMPIRE Shakespeare and the screen, by SCREEN INTERNATIONAL No.66. December 1994, pp.98-100, Olwen Terris No. 982. November 4th 1994, p.34 103, 105, 107, 109 Details of a short season, starring Creature Feature. Victor Mission Accomplished? by Barry Kenneth Branagh in Shakespeare Frankenstein’s creature consists of McIlheney related productions for film and a complex blend of prosthetics television. Brief profile on the and make-up, prepared by one of Interview with Branagh, discussing actor and his appeal. the largest specialist teams ever his adaptation of Shelley’s novel assembled outside the US. Bob and its relevance to today’s audi- Jacques reports. ence. Discusses other Gothic PREMIERE films, working with Robert De Niro Vol.3. No.11. December 1995, pp.70-74 Article on the make-up used to and living in the public eye. create the monster/creature and “F*** This...” Kenneth Branagh its difference from former returns defiant after the multi- Frankenstein monsters depicted REDEEMER million dollar debacle of MARY on the screen. Vol.1. No.2. 1993, pp.35-37 SHELLEY’S FRANKENSTEIN, to make his lightest film since Franks for the Memory. From evo- PETER’S FRIENDS, IN THE BLEAK SIGHT AND SOUND lution’s waste bin, Frankenstein MIDWINTER, by John Naughton Vol.4. No.11. November 1994, pp.6-9 played God and created a loose- limbed air-head, by Marcelle Perks. Profile of Kenneth Branagh, pro- Making Frankenstein and the viding details of his career. Talks Monster. The make-up artist and aboout the disappointing reception the set designer on the look of Perks discusses the nature of mon- of MARY SHELLEY’S FRANKENSTEIN, Kenneth Branagh’s film. sters in horror films and how the his admiration for Shakespeare appearance of the Monster in and his new film. Make up artist Daniel Parker, talks FRANKENSTEIN (1931), was influ- to Mark Kermode about the cre- enced by monsters in former silent ation of the monster in the film; films. The article examines the SCREEN INTERNATIONAL and set designer Tim Harvey dis- history of the film adaptations of No. 982 November 4th 1994, p.24 cusses the visual appearance of Frankenstein and how multi-mon- the film with Pat Kirkham. ster movies developed over the Renaissance Man. As MARY SHEL- decades and sometimes included LEY’S FRANKENSTEIN comes to Dracula. Commenting on how the life on both sides of the Atlantic, SIGHT AND SOUND films always depict amateurish Ana Maria Bahiana talks to Vol.4. No.12. December 1994, pp.51-52 laboratories, anticipating that all Kenneth Branagh about his latest experiments will be doomed to progeny and his future plans. MARY SHELLEY’S FRANKENSTEIN failure, the author argues that a requisite to the Frankenstein myth Branagh in interview, talks about Article contains full credits, synop- is the Baron’s idealism, the opposi- the differences between MARY sis and review of the film. Review tion of the monster and yet also SHELLEY’S FRANKENSTEIN and focuses on the horror aspect of the an enduring connection between former film adaptations of film and points to the presence of creator and creation. Shelley’s novel, and the decision to modern and updated themes. avoid the schlock horror and melo- drama of other films. Also MONTHLY FILM BULLETIN includes discussion of Branagh as SIGHT AND SOUND Vol.41. No.490. Nov 1974, pp.250-251 an actor and director. Vol.3. No.9 September 1993, pp.16-19

FRANKENSTEIN: The True Story The Importance of Being Ordinary: SCREEN INTERNATIONAL Equally at home in Hollywood as Article contains full credits, synop- No. 982 November 4th 1994, pp.28, 32 with the classics, Kenneth sis and review of the 1973 film. Branagh speaks for modern mid- Gothic Creation. MARY SHELLEY’S dle England, by Alison Light Review concentrates on the way FRANKENSTEIN was the natural this adaptation emphasises the film for Francis Ford Coppola’s Profile of Kenneth Branagh, con- similarity between Frankenstein production outfit, American trasting his work with Laurence and the creature, and how it re- Zoetrope, to make following Bram Olivier’s and discussing his atti- interprets former film versions of Stoker’s Dracula. Bob Jacques tude to culture and the politics of the novel. describes the genesis of the film. his appeal.

Francis Ford Coppola discusses NATIONAL FILM THEATRE how MARY SHELLEY’S FRANKEN- STARBURST PROGRAMMES STEIN came to be produced and its No.32. 1981, pp.51-54 August 1994 pp.22-23 similarity to Coppola’s version of Dracula. Branagh talks about his The FRANKENSTEIN Chronicles. Walking : Kenneth adaptation, its loyalty to the text Part 1, by Phil Edwards. Branagh. Kenneth Branagh, more and former interpretations of the than anyone else in the last 10 novel in the horror canon. The first part of a four part series, years, has succeeded in uniting Phil Edwards looks back at the first

BFI National Library 16 of the Boris Karloff FRANKENSTEIN MAN and HOUSE OFFRANKENSTEIN, of THE BRIDE OF FRANKENSTEIN. films, made in 1931 for Universal. Edwards comments that in the Later installments will examine first of these Jnr as The other parts of this series were: BRIDE OF FRANKENSTEIN (1935) and the monster failed to match Part 1, which was an overview, No (1937). Karloff’s performance and the sec- 42, Spring 1974, p24-25 ond film relegated the series to B Part 2, DRACULA as a transitional The articles examines the origins progamme status. No 43 Summer 1974, of the filmed adaptations of p27-30 Frankenstein and how Boris Part 3, Black Humour: THE INVISI- Karloff was chosen to play the part MAKING FILMS IN NEW YORK BLE MAN, No 44, Fall 1974 p40-41, of the monster. Edwards then dis- Vol.9. No.3. 1975, pp30-35 45, 13 cusses the creation of the appear- Part 4, The MUMMY, No 45, Winter ance of the monster, the famous The unending pursuit of 1974 p12-13 elimination of a particular scene, FRANKENSTEIN and DRACULA. 70 Part 5, BRIDE OF FRANKENSTEIN the differences of the film to Mary years of blood and horror for fun (part 1) No 46, Spring 1975, p50-52 Shelley’s book and finally the and profit, by Art Ross enormous popularity of the film. Ross details the beginning of the Frankenstein myth, early film ver- Press Articles STARBURST sions of the story and the 1931 The following reviews and articles No.33. 1981, pp.40-43 classic. Praising Karloff’s portrayal and are held on microjacket at the of the monster, he contrasts the BFI National Library under the title The FRANKENSTEIN Chronicles, Universal films with the Hammer MARY SHELLEY’S FRANKENSTEIN. Part II. BRIDE OF FRANKENSTEIN, versions and outlines his views of by Phil Edwards the relevance of the myth today. OBSERVER. REVIEW The article also details the origins 30 October 1994 pp. 8-9 Edwards explains how the sequel of the Dracula myth and its filmic OBSERVER. REVIEW to FRANKENSTEIN - BRIDE OF representations, and includes 6 November 1994 p.11 FRANKENSTEIN - came to be pro- Murneau’s NOSFERATU (1921) and SUNDAY TELEGRAPH. REVIEW duced, the development of the Universal’s DRACULA (1931). Seeing 6 November 1994 p.5 story and the nature of James ’s Dracula as the defini- INDEPENDENT ON SUNDAY Whale’s direction. Although the tive portrayal, Ross examines other 6 November 1994 p.26 film was not well received critical- Dracula adaptations up to the SUNDAY TIMES. SECTION 10 ly in England, it proved very suc- 1970’s. He argues that both myths 6 November 1994 p.6-7 cessful at the box office. provide film with some of its most DAILY TELEGRAPH magical and appropriate material. 4 November 1994 p.20 DAILY MAIL STARBURST 4 November 1994 p.44 No.34. 1981, pp.38-41 REAR WINDOW INDEPENDENT No.5. Spring 1975, pp.11-15 3 November 1994 p.29 The FRANKENSTEIN Chronicles. EVENING STANDARD Part III. SON OF FRANKENSTEIN, by Angel, by T Leo French. 3 November 1994 p.32 Phil Edwards In an article concentrating on the 3 November 1994 p.3 The articles discusses how the work of Terence Fisher, French THE TIMES film came to be made, the script asserts Fisher was more interested 3 November 1994 p.37 and the choice of director. Also in Frankenstein than in Dracula. FINANCIAL TIMES examines the character of Ygor French analyses the Hammer 3 November 1994 p.21 played by Bela Lugosi. Though films, often via particular shots to GUARDIAN. SECTION 2 Boris Karloff later noted that the demonstrate the influence of 23 November 1994 p.12 Frankenstein stories had run their Welles and Hitchcock on the direc- MIDWEEK course, and the film departs from tor and also his own particular 3 November 1994 p.22 many of the trademarks of the style of horror. A development in original two films, SON OF the series is the appearance of a FRANKENSTEIN was well received Junior Frankenstein whose love for NEW STATESMAN & SOCIETY by press and public and triggered Angel, a nurse, leads him to recog- 4 November 1994, pp.32-33 the 40s horror boom. nize Frankenstein’s insanity and redirect the themes of the films Stitch-Up Job, by Jonanthan onto new ground. Romney STARBURST No.67. March 1984, pp.30-32 The article criticises MARY SHEL- CLASSIC FILM COLLECTOR LEY’S FRANKENSTEIN and sees the The FRANKENSTEIN Chronicles. No.47. Summer 1975, pp.8-9, 58 film as made up of components of Part IV, by Phil Edwards former horror films and genres. A look at Universal’s horror films Considers that De Niro’s creature The article charts the additional of the 30s (part 6), Bride of is the first monster of modern hor- Frankenstein films produced by Frankenstein (conclusion), by ror, but that the film ultimately . With details of Lawrence Contratti. does not resolve itself successfully. GHOST OF FRANKENSTEIN, FRANKENSTEIN MEETS THE WOLF- A study of Universal’s production

BFI National Library 17 GUARDIAN (SECTION 2) MAXFORD, Howard HOUSE THAT HAMMER BUILT 27 October 1994 Hammer, house of horror: behind No.3. June 1997 pp.117-152 the screams. Creatures Great and Tall, by Lizzie London: Batsford, 1996. 192p. [12] The Sixties Franke col. plates. illus. chronol. biogs. fil- mog. index Third part of a chronological histo- The article examines Mary ry of , Shelley’s novel and its enduring Detailed and appreciative history focusing on 1960-1961, with fea- fascination. Also discusses the of Hammer from the studio’s tures on each 1931 film version of the novel and inception to its demise. Good on released. other adaptations, before conclud- production details, plot synopses, ing that Branagh’s film fails to cap- press reactions and how the films ture the essence of Shelley’s work. did commercially. HOUSE THAT HAMMER BUILT No.4. August 1997 pp. 175-200

SUNDAY TELEGRAPH. REVIEW PIRIE, David Hammer: the history 23 November, 1994, p.5 Hammer: a cinema case study. London: BFI Education, 1980. Continuation of a chronological Filming Frankenstein, by Kenneth unpaged, illus. history of Hammer focusing on the Branagh years 1962-1963, including detailed Looks at the factors - social, insti- analysis of the fantasy films pro- Branagh explains how he wanted tutional and political - responsi- duced. to adapt Shelley’s novel and por- ble for Hammer’s success in tray the character of Frankenstein. Britain and America. Focuses on Also discusses how he aimed to Hammer’s Frankenstein and HOUSE THAT HAMMER BUILT show the novel’s connection with Dracula films. No.6. December 1997pp.292-339 many ethical problems of today. Examines the themes of creativity, Hammer: the history parenthood and birth in the film, journal articles as well as the role and appearance Continuation of a chronological of the creature. history of Hammer production HOUSE THAT HAMMER BUILT focusing on the fantasy films pro- No.11. February 1999 (whole issue) duced from 1966 to 1968.

Interviews and filmographies on Hammer Studios Hammer directors, HOUSE THAT HAMMER BUILT and production designers, includ- No.7. February 1998 ing original sketches and shooting books schedules for some films. Hammer: the history pp. 349-379 EYLES, Alan, ADKINSON, Robert HOUSE THAT HAMMER BUILT and FRY, Nicholas (eds.) No.1. February 1997 Continuation of a history of House of horror: the complete Hammer productions 1969 - 1970, Hammer Films story. Hammer - the origins p.1-3 including detailed analysis of the London: Creation Books, 1994. (Rev. Chronology of the founding of fantasy films produced in those ed.). 175p. illus. filmog. index. Hammer, from its origins with years. Exclusive Films, including profiles History of Hammer, including of Enrique Carreras and William pp. 409 – 467 interviews with Terence Fisher and Hinds Peter Cushing, amongst Continuation of a detailed chrono- others. Hammer - the productions p.4-18 logical history of Hammer Film Full production list for Hammer Production, including detailed arti- from 1947 to the 1970s cles on the fantasy films produced JOHNSON, Tom and DEL VECCHIO, 1971 – date of compilation. Deborah Hammer - the history p.19 - 34 Hammer films: an exhaustive fil- Chronological history of Hammer mography. 1947-1956 including key events HOUSE THAT HAMMER BUILT Jefferson, NC: McFarland, 1996. and films produced No.9. August 1998 p.47-58 vii-xi. 410p. illus. filmog. bibliog. index. Hammer on location HOUSE THAT HAMMER BUILT Alphabetical listing of all No.2. April 1997 List of Hammer films with the Hammer’s films with credits, syn- locations where they were filmed. opses, critiques and press reac- Hammer: the history pp.57-100 Includes photographs of some of tions. Also includes a brief histo- the frequently used locations ry of the studio. Second part of a ch ro n o l ogical history of Hammer productions from 1957 to 1 9 5 9 , including detailed analysis of the fantasy films pro d u c e d

BFI National Library 18 SIGHT AND SOUND FILM COMMENT LITTLE SHOPPE OF HORROR Vol.6. No.8. August 1996, pp.10-13 Vol.28. No.3. May/June 1992, pp.46-50 No.4. April 1978, pp.24-132

Hammer’s Cosy Violence. Hammer The , by Andrew Hammer: Yesterday, Today and and the English at Home, by Mangravite Tomorrow, by Richard Klemensen Jonathan Coe Mangravite discusses the special A varied and full source of infor- Coe discusses Hammer Studios’ style and appeal of the Hammer mation on Hammer Studios and relation both to TV and popular horror films. He praises their productions, with contribu- genres and how their films THE CURSE OF FRANKENSTEIN and tions from writers and enthusi- often include a subversive ele- DRACULA as particularly effective asts. Areas covered include A ment. Offering familiar English in comparison to other horror Hammer History, an interview genres and landscapes within films. The article discusses the dif- with Managing Director Michael TV and radio adaptations, ference between ’s Carreras, profiles and interviews Hammer films are typical exam- Creature and Karloff’s Monster and with , Terence ples of English culture. Arguing how Hammer, unlike the splatter Fisher, , , that the Hammer style suited the movies, did not present an overtly the writers and the actors. After an Dracula and Frankenstein films ‘blood and guts’ formula of horror. overview of the Dracula films, a better that Coppola’s or Branagh’s Discussing the fall of Hammer’s full filmography is listed. efforts, Coe shows how the films fortune by 1963. were centred on domestic environ- ments and recognizably connected Mangavite focuses blame on the to our ideas of family life. failure of the Phantom of the Opera and the studio’s attitude to . HAMMER HORROR No.4. June 1995, pp.8-13 pp.51- 53 Costume Dramas: As the director of KISS OF THE VAMPIRE, THE Pictures on the Walls of the House DEVIL-SHIP PIRATES, and of Hammer, by Robert C Cumbow. , handled some unusually The article lists and provides notes diverse films for Hammer. He on the directors of the Hammer talks to Christopher Koetting films, their writers and about his work for the company, technicians. and their attempts to lure him back into the fold.

Interview with director Don Sharp about his horror films for Hammer Film Productions.

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