By Wheeler Winston Dixon
Arranged by means of many years, with outliers and franchise motion pictures overlapping a few years, this one-stop sourcebook reveals the historic origins of characters similar to Dracula, Frankenstein, and the Wolfman and their numerous incarnations in movie from the silent period to comedic sequels. A historical past of Horror explores how the horror movie matches into the Hollywood studio method and the way its huge, immense luck in American and ecu tradition extended globally over time.
Dixon examines key sessions within the horror film-in which the fundamental precepts of the style have been verified, then banished into very easily trustworthy and malleable varieties, after which, after collapsing into parody, rose time and again to create new degrees of depth and threat. A heritage of Horror, supported by way of infrequent stills from vintage motion pictures, brings over fifty undying horror motion pictures into frightfully transparent concentration, zooms in on ultra-modern best horror sites, and champions the celebs, administrators, and subgenres that make the horror movie so fascinating and well-liked by modern audiences.
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Extra info for A History of Horror
The theater closed its doors in 1962. Although a brief attempt was made in London in the 1920s to present an English “version” of Grand Guignol, it was only marginally successful; certainly, local censorship rules would have rendered such an enterprise impossible in the United States during this era. Today, however, the San Francisco theatrical troupe Thrillpeddlers performs English translations of “classic” Grand Guignol playlets in a small theater that the troupe has dubbed the Hypnodrome. The lasting impact of Grand Guignol is arguably most seen in the cinema.
Karloff, too, went through lean periods. In the late 1930s, with the horror market saturated, Karloff agreed to appear in a series of cut-rate ﬁlms centering on the character of one Mr. Wong, an Orientalist detective who was an obvious knockoff of the hugely popular Charlie Chan character. Karloff made four Wong ﬁlms for Monogram at his top price and then walked away from the studio, never to return—a rare feat in itself, for Monogram was usually the last stop for an actor on the way down in a highly competitive industry.
Originally conceived as a joke by Curt Siodmak in the Universal cafeteria during a long lunch break as he and his fellow writers struggled to come up with a new angle for the Frankenstein saga (Siodmak wryly suggested that the ﬁlm should more properly be titled Frankenstein Wolfs the Meat Man, a reference to wartime Classics 37 rationing), the script for Frankenstein Meets the Wolf Man was duly presented by Siodmak to Universal’s executives. Immediately taken with the notion, Universal rushed the ﬁlm into production, this time with Lugosi in the role of the monster and Lon Chaney Jr.
A History of Horror by Wheeler Winston Dixon