By Denis Meikle
No corporation within the historical past of cinema did extra to legitimize the horror movie than Hammer Films_the small British self sufficient, which operated out of its tiny Bray Studios at the banks of the River Thames. From the Gothic attractiveness of The Curse of Frankenstein and Dracula to the violent sexploitation of The Vampire enthusiasts and Dr. Jekyll and Sister Hyde, the Hammer identify stood for something to a new release of flicks lovers because the time period 'Hammer Horror' grew to become part of the language. This revised and up to date version of A historical past of Horrors lines the existence and 'spirit' of Hammer, from its fledgling days within the overdue Forties via its successes of the Fifties and '60s to its decline and eventual liquidation within the overdue Nineteen Seventies. With the unique participation of the entire body of workers who have been key to Hammer's luck, Denis Meikle paints a shiny and engaging photograph of the increase and fall of a movie empire, supplying new and revealing insights into 'the fact in the back of the legend.' a lot has been written approximately Hammer's motion pictures, yet this can be the single booklet to inform the tale of the corporate itself from the point of view of these who ran it in its heyday and who helped to show it right into a common byword for terror at the display. This definitive historical past additionally comprises forged and credit listings for the 'Hammer Horrors' and a whole filmography of all of Hammer's function productions.
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Publish yr word: First released January 1st 2006
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Additional info for A History of Horrors: The Rise and Fall of the House of Hammer
It is this culture more than cold-war politics that is at the heart of each as a product of its time. Many contemporary social and cultural tensions reverberate through them, tensions that were reflective of the insecurity, anxiety, and even paranoia generated in the larger domestic and global political arena. It is too facile to see Hitchcock as simply reflecting and validating contemporary social values or, conversely, as critiquing and exposing them within his narratives. The reality is that these values were embedded in his films, equally the product of what his writers and the director brought to the screenplays.
Principal photography began on November 30, the shooting was completed by February 1, and the film was released on June 16, 1960. The astounding critical controversy and popular success that followed seem to have convinced Hitchcock that the follow-up would have to extend some aspect of Psycho’s narrative and technical innovations. After discussing several ideas with his collaborators and even with the media in the months following Psycho’s tumultuous release, Hitchcock decided to explore further the dark sexuality he had introduced in it by adapting Winston Graham’s 1961 novel Marnie, a study of the erotic neuroses of a compulsive thief.
37 Whether Allen, who got on extremely well with the director and shared his quirky sense of humor, actually provided the female perspective that Hitchcock hoped for in Marnie is debatable. 38 Ultimately it was her screenplay that had to represent Mark’s assertive masculinity and Marnie’s frigidity and thievery in ways that reflected contemporary American attitudes on psychology, sexuality, and criminology, which to a large extent it did. She also elevated the novel’s social setting to conform to more traditional Hollywood expectations.
A History of Horrors: The Rise and Fall of the House of Hammer by Denis Meikle