By Steve Chibnall, Julian Petley
British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The Ghoul and Dark Eyes of London to said classics resembling Peeping Tom and The Wicker Man.
Contributors discover the contexts within which British horror motion pictures were censored and labeled, judged by means of their critics and fed on via their fanatics. Uncovering missed sleek classics like Deathline, and addressing concerns resembling the illustration of family members and ladies, they give thought to the Britishness of British horror and look at sub-genres resembling the psycho-thriller and witchcraftmovies, the paintings of the Amicus studio, and key filmmakers together with Peter Walker.
- the 'Psycho Thriller'
- the British censors and horror cinema
- femininity and horror movie fandom
- witchcraft and the occult in British horror
- Horrific motion pictures and Nineteen Thirties British Cinema
- Peter Walker and Gothic revisionism.
Also featuring a finished filmography and interviews with key administrators Clive Barker and Doug Bradley, this is often one source movie experiences scholars may still not be without.
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Additional info for British Horror Cinema
After the decline of the British ‘quality’ ﬁlm project at the end of the 1940s and start of the 1950s, ‘quality’ was seen as residing largely abroad (though not, obviously, in Hollywood) as far as the critics were concerned; here, ﬁlms still dealt with ‘serious’ issues in a ‘realistic’, adult and responsible fashion. But just how little mainstream ﬁlm criticism developed in the 1950s and 1960s can be gauged from the diatribes against the critical establishment which issued forth from Screen at the end of the 1960s and early 1970s, many of which were couched in explicitly antiLeavisite terms.
D. Leavis dismissed the pleasures of Hollywood movies as ‘largely masturbatory’ (1978: 270). 1 Indeed, Terry Eagleton’s remark on the impact of Leavisism is today much more true of English criticism than it is of academic English studies: There is no more need to be a card-carrying Leavisite today than there is to be a card-carrying Copernican: that current has entered the bloodstream of English studies in England as Copernicus reshaped our astronomical beliefs, has become a form of spontaneous critical wisdom as deep-seated as our conviction that the earth moves round the sun.
1973) A Heritage of Horror: The English Gothic Cinema 1946–1972, London: Gordon Fraser. Phelps, G. (1975) Film Censorship, London: Victor Gollancz. Spicer, A. (2000) ‘The BBFC scenario reports at the British Film Institute: the case of the macabre ﬁlm’, Journal of Popular British Cinema 3: 121–4. Trevelyan, J. (1973) What the Censor Saw, London: Michael Joseph. 3 ‘A crude sort of entertainment for a crude sort of audience’: the British critics and horror cinema Julian Petley It is the business of criticism not only to keep watch over the vagaries of philosophy, but to do the duty of police in the whole world of thought.
British Horror Cinema by Steve Chibnall, Julian Petley