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British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers just like the Ghoul and darkish Eyes of London to stated classics reminiscent of Peeping Tom and The Wicker Man.

Contributors discover the contexts within which British horror movies were censored and labeled, judged by means of their critics and ate up by way of their enthusiasts. Uncovering overlooked smooth classics like Deathline, and addressing matters reminiscent of the illustration of family members and ladies, they give thought to the Britishness of British horror and think about sub-genres reminiscent of the psycho-thriller and witchcraftmovies, the paintings of the Amicus studio, and key filmmakers together with Peter Walker.

Chapters include:
•the 'Psycho Thriller'
•the British censors and horror cinema
•femininity and horror movie fandom
•witchcraft and the occult in British horror
•Horrific movies and Nineteen Thirties British Cinema
•Peter Walker and Gothic revisionism.

Also that includes a entire filmography and interviews with key administrators Clive Barker and Doug Bradley, this can be one source movie stories scholars shouldn't be without.

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Jane Austen, Northanger Abbey (1818) The hostile British critical reception which greeted Hammer’s early horror films, and horror-related titles such as Peeping Tom (1960) and Straw Dogs (1971), has already been well documented (Barr 1972, Christie 1978, Hutchings 1993). However, little has been done to put these negative critical responses into their wider cultural and literary-historical contexts, nor has there been much enquiry into the consequences, especially the long-term ones, of this tide of vituperation for horror cinema in Britain.

J. : 83). From this kind of critical perspective, then, the Gothic represented an intensification of all that was wrong with the romance. Furthermore, as literacy increased in the late eighteenth and early nineteenth centuries, so the readership of novels grew. The fact that the Gothic became an extremely popular genre, and one which seemed to encourage a particularly intimate relationship between the text and its readers, many of whom were women, only increased many critics’ fear and dislike of it.

At the same time, however, ‘many characters ought never to be drawn’. Johnson’s strictures on literature and its function provide the clearest evidence that, for many critics in the late eighteenth century: Distinguishing between good and bad modes of writing was more than a merely aesthetic enterprise: it marked an attempt to supplement an assumed inability on the part of romances and their growing readership to discriminate between virtue and vice, and thus to forestall their seduction along fictional paths that stimulated antisocial passions and corrupt behaviour.

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