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Irish National Cinema
Ruth Barton argues that in order to understand the position of filmmaking in Ireland and the inheritance on which contemporary filmmakers draw, definitions of the Irish culture and identity must take into account the Irish diaspora and engage with its cinema.
The Blood on Satan's Claw
Widely regarded as one of the foundational 'Unholy Trinity' of folk horror film, The Blood on Satan's Claw (1971) has been comparatively over-shadowed, if not maligned, when compared to Witchfinder General (1968) and The Wicker Man (1973). While those horror bedfellows are now accepted as classics of British cinema, Piers Haggard's film remains undervalued, ironically so, given that it was Haggard who coined the term 'folk horror' in relation to his film. In this Devil's Advocate, David Evans-Powell explores the place of the film in the wider context of the folk horror sub-genre; its use of a seventeenth-century setting (which it shares with contemporaries such as Witchfinder General and Cry of the Banshee) in contrast to the generic nineteenth-century locales of Hammer; the influences of contemporary counter-culture and youth movement on the film; the importance of localism and landscape; and the film as an expression of a wider contemporary crisis in English identity (which can also be perceived in Witchfinder General, and in contemporary TV serials such as Penda's Fen).
The Continuing Story of Irish Television Drama
Dr Helena Sheehan's original study, Irish television drama, appeared in 1987. It traced 25 years (1962-87) of Irish society in a process of social transformation and the role of television drama in a struggle to define the nature of that process. This book is a sequel, advancing the story another 15 years (1987-2002). From 'Fair City' to 'Family' to 'Father Ted', it examines television drama in the time of the Celtic tiger, striving to come to terms with the flux of Irish life in an increasingly globalized world, in a time of significant changes in the climate of broadcasting.
Witchfinder General
Witchfinder General (1968), known as The Conqueror Worm in America, was directed by Michael Reeves and occupies a unique place in British cinema. Equally praised and vilified, the film fictionalizes the exploits of Matthew Hopkins, a prolific, real-life "witch hunter," during the English Civil War. For critic Mark Kermode, the release proved to be "the single most significant horror film produced in the United Kingdom in the 1960s," while playwright Alan Bennett called the work "the most persistently sadistic and rotten film I've ever seen." Steadily gaining a cult reputation, unimpeded by the director's death just months after the film's release, the film is now treated as a landmark, thoug...
Dark Dreams 2.0
Greatly expanded and updated from the 1977 original, this new edition explores the evolution of the modern horror film, particularly as it reflects anxieties associated with the atomic bomb, the Cold War, 1960s violence, sexual liberation, the Reagan revolution, 9/11 and the Iraq War. It divides modern horror into three varieties (psychological, demonic and apocalyptic) and demonstrates how horror cinema represents the popular expression of everyday fears while revealing the forces that influence American ideological and political values. Directors given a close reading include Alfred Hitchcock, Brian De Palma, David Cronenberg, Guillermo Del Toro, Michael Haneke, Robert Aldrich, Mel Gibson and George A. Romero. Additional material discusses postmodern remakes, horror franchises and Asian millennial horror. This book also contains more than 950 frame grabs and a very extensive filmography.
"Twice the Thrills! Twice the Chills!"
In the mid-1950s, to combat declining theater attendance, film distributors began releasing pre-packaged genre double-bills--including many horror and science fiction double features. Though many of these films were low-budget and low-end, others, such as Invasion of the Body Snatchers, Horror of Dracula and The Fly, became bona fide classics. Beginning with Universal-International's 1955 pairing of Revenge of the Creature and Cult of the Cobra, 147 officially sanctioned horror and sci-fi double-bills were released over a 20-year period. This book presents these double features year-by-year, and includes production details, historical notes, and critical commentary for each film.
Narrative Podcasting in an Age of Obsession
Evaluating the rise of podcasting and the storytelling trends that emerged
British Horror Cinema
British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The Ghoul and Dark Eyes of London to acknowledged classics such as Peeping Tom and The Wicker Man. Contributors explore the contexts in which British horror films have been censored and classified, judged by their critics and consumed by their fans. Uncovering neglected modern classics like Deathline, and addressing issues such as the representation of family and women, they consider the Britishness of British horror and examine sub-genres such as the psycho-thriller and witchcraftmovies, the work of the Amicus studio, and key filmmakers including Peter Walker. Chapters include: the 'Psycho Thriller' the British censors and horror cinema femininity and horror film fandom witchcraft and the occult in British horror Horrific films and 1930s British Cinema Peter Walker and Gothic revisionism. Also featuring a comprehensive filmography and interviews with key directors Clive Barker and Doug Bradley, this is one resource film studies students should not be without.
Faith Horror
Faith horror refers to a significant outcropping of mid-1960s and 1970s films and adaptative novels that depict non-Christian communities of evil doers and their activities. Before this period, the classical horror villain was ultimately ineffectual. The demonic monster was an isolated, lone individual easily vanquished by an altruistic Christian protagonist. Alternatively, the villain in faith horror is organized into identity-affirming, likeminded religious congregations that successfully overcome protagonists. Faith horror was a cinematic trend that depicted Satanism, witchcraft and paganism during a cultural deliberation over the "Death of God," which debated the legitimacy of alternative spiritualities and the value of alliance to any faith at all. Covering popular works like Rosemary's Baby, The Wicker Man and The Omen, this book regards these films and their literary sources in relation to this historical moment, providing new ways of understanding both the period and the faith horror movement more generally.
The British Film Catalogue
First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
