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Books on the topic '1990s horror'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Horror films of the 1990s. McFarland & Company, Inc., Publishers, 2011.

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2

Women in horror films, 1930s. McFarland, 1999.

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3

Mank, Gregory W. Women in horror films, 1940s. McFarland & Co., 1999.

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Muir, John Kenneth. Horror films of the 1970s. McFarland, 2002.

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5

Horror film directors, 1931-1990. McFarland, 1991.

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6

Rational fears: American horror in the 1950s. Manchester University Press, 1996.

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7

Stell, John. Psychos! sickos! sequels!: Horror films of the 1980s. Midnight Marquee Press, 1998.

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8

The great monster magazines: A critical study of the black and white publications of the 1950s, 1960s and 1970s. McFarland, 2008.

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9

Recovering 1940s horror cinema: Traces of a lost decade. Lexington Books, 2015.

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10

Weaver, Tom. Science fiction stars and horror heroes: Interviews with actors, directors, producers, and writers of the 1940s through 1960s. McFarland, 1991.

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11

Page, Kenneth Robert. The moment of horror: An examination of masculinity and horror in the British Cinema in the 1950s. University of Birmingham, 1990.

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12

Curci, Loris. 35 millimetri di terrore: Guida al cinema horror 1980-1990. Marino Solfanelli, 1992.

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13

Carl, Meyer. Days of horror during the siege of Kimberley, 1899-1990. Kimberley Africana Library under the auspices of the Friends of the Library, 1999.

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14

Piselli, Stefano. Bizarre sinema!: Wildest, sexiest, weirdest, sleaziest films : cultish shocking horrors : (sur)realism, sadism and eroticism, 1950s-1960s. Glittering Images, 2002.

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15

McCallum, Lawrence. Italian horror films of the 1960s: A critical catalog of 62 chillers. McFarland & Co., 1998.

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16

Songs of love and death: The classical American horror film of the 1930s. Greenwood Press, 1993.

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17

Holyman, Philip David. Unheimlich manoeuvres in the dark: Spectatorship and sexual neurosis in the 1960s horror cinema. University of Birmingham, 2002.

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18

Television fright films of the 1970s. McFarland, 2007.

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19

The Gorehound's guide to splatter films of the 1980s. McFarland, 2003.

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20

The hidden history of the historic fundamentalists, 1933-1948: Reconsidering the historic fundamentalists' response to the upheavals, hardships, and horrors of the 1930s and 1940s. University Press of America, 2004.

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21

Owen, Jim. The hidden history of the historic fundamentalists, 1933-1948: Reconsidering the historic fundamentalists' response to the upheavals, hardships, and horrors of the 1930s and 1940s. University Press of America, Inc., 2005.

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22

Dark dreams 2.0: A psychological history of the modern horror film from the 1950s to the 21st century. McFarland & Company, Inc., Publishers, 2009.

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23

Derry, Charles. Dark dreams 2.0: A psychological history of the modern horror film from the 1950s to the 21st century. McFarland & Company, Inc., Publishers, 2009.

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24

Muir, John Kenneth. Horror Films of the 1990s. McFarland, 2019.

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25

Choi, Annie, Zack Carlson, and Joseph A. Ziemba. Bleeding Skull: A 1990s Trash-Horror Odyssey. Norton & Company, Incorporated, W. W., 2019.

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26

Clasen, Mathias. Monsters Everywhere. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190666507.003.0006.

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The chapter gives an outline of the history of American horror across media, from prehistoric roots to postmodern slasher films and horror videogames. A specifically American literary horror tradition crystallizes in the mid-1800s, with authors such as Edgar Allan Poe, and is developed in the twentieth century by writers including H. P. Lovecraft. In that century, horror films—beginning with Universal’s monster films of the 1930s—became the dominant medium for the genre. Horror became a mainstream genre during the 1970s and 1980s, with the emergence of popular writers like Stephen King and many lucrative film releases. Slasher films dominated the 1980s and were reinvented in a postmodern version in the 1990s. Horror videogames became increasingly popular, offering high levels of immersion and engagement. The chapter shows that horror changes over time, in response to cultural change, but changes within a possibility space constrained by human biology.
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27

Schmid, Justin. The Bermuda Triangle (Call of Cthulhu Horror Roleplaying, 1990s Era). Chaosium Inc., 1998.

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28

West, Alexandra. 1990s Teen Horror Cycle: Final Girls and a New Hollywood Formula. McFarland & Company, Incorporated Publishers, 2018.

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29

Grossman, Andrew. Animated Pasts and Unseen Futures: on the Comic Element in Hong Kong Horror. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0006.

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Analyses of horror cinema seldom focus on the genre’s intersections with comedy, perhaps because the dominant influence of psychoanalysis on horror has emphasized gender, sexuality, trauma, abandonment, and various aspects of the unconscious. Yet Hong Kong might well boast world cinema’s most successful engagement of the horror-comedy as a sustained genre. From the late 1970s through the early 1990s, the ghosts and animated corpses of Taoist folklore became invested with the martial arts comedy advanced by Jackie Chan and Sammo Hung, rendering supernatural bodies as clownish cyphers rather than the romantic entities of Enchanting Shadow or AChinese Ghost Story. If spirits represent an intermediary stage between life and death, so too does the stylized clown, whose death-defying feats and transgression of “normal” human limitations render our mortal fears absurd. Presenting superstition as a comedy of stubborn familiarity and reveling in the foolishness of a premodern past, the Hong Kong horror-comedy resists the ideology of the encroaching Mainland, which has often censored “backwards” depictions of Chinese folklore and fantasy. In addition to examining the phenomenology of Hong Kong’s horror-comedies, this chapter also considers how such films fit into overall theories of physical comedy, from Bergson to Koestler.
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30

Harmes, Marcus K. The Curse of Frankenstein. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733858.001.0001.

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Critics abhorred it, audiences loved it, and Hammer executives were thrilled with the box office returns: The Curse of Frankenstein was big business. The 1957 film is the first to bring together in a horror movie the 'unholy two', Christopher Lee and Peter Cushing, together with the Hammer company, and director Terence Fisher, combinations now legendary among horror fans. This book goes back to where the Hammer horror production started, looking at the film from a variety of perspectives: as a loose literary adaptation of Mary Shelley's novel; as a film that had, for legal reasons, to avoid adapting from James Whale's 1931 film for Universal Pictures; and as one which found immediate sources of inspiration in the Gainsborough bodice rippers of the 1940s and the poverty row horrors of the 1950s. Later Hammer horrors may have consolidated the reputation of the company and the stars, but these works had their starting point in the creative and commercial choices made by the team behind The Curse of Frankenstein. In the film sparks fly, new life is created and horrors unleashed, but the film itself was a jolt to 1950s cinemagoing that has never been entirely surpassed.
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31

Deighan, Samm. M. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325772.001.0001.

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Fritz Lang's first sound feature, M (1931), is one of the earliest serial killer films in cinema history and laid the foundation for future horror movies and thrillers, particularly those with a disturbed killer as protagonist. Peter Lorre's child killer, Hans Beckert, is presented as monstrous, yet sympathetic, building on themes presented in the earlier German Expressionist horror films like The Cabinet of Dr. Caligari and The Hands of Orlac. Lang eerily foreshadowed the rising fascist horrors in German society, and transforms his cinematic Berlin into a place of urban terror and paranoia. This book explores the way Lang uses horror and thriller tropes in M, particularly in terms of how it functions as a bridge between German Expressionism and Hollywood's growing fixation on sympathetic killers in the 1940s. The book also examines how Lang made use of developments within forensic science and the criminal justice system to portray a somewhat realistic serial killer on screen for the first time, at once capturing how society in the 1930s and 1940s viewed such individuals and their crimes and shaping how they would be portrayed on screen in the horror films to come.
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32

Martin, Daniel. The Enduring Cult of The Bride with White Hair: Chivalry and the Monstrous Other in the Hong Kong Fantasy-Horror. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0005.

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The Bride with White Hair (Ronny Yu, 1993) tells the tale of a heroic swordsman’s ill-fated love affair with a woman transformed by hatred into a white-haired killer, elevated the figure of the frosty-follicled executioner into one of the most enduring icons of the Hong Kong horror film. The timelessness and mysticism of the story lends itself to a highly hybridized type of horror, offering wuxia (swordplay), magical fantasy, romance and erotic scintillation alongside bloody fights, savage violence, and a monstrous depiction of malevolent conjoined twins. This chapter examines this film as emblematic of a particular cultural moment in the development of the Hong Kong fantasy-horror, appealing to a global fanbase for its supposedly transgressive and erotic content, and analyses the film in terms of its generic hybridity, its depictions of disability and morality, as well as in the context of the international marketing and reception of cult Hong Kong horror of the 1990s.
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33

Stine, Scott Aaron. Trashfiend: Disposable Horror Fare of the 1960s And 1970s. Critical Vision, 2007.

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34

Trashfiend: Disposable Horror Culture of the 1960s And 1970s. Headpress, 2009.

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35

Horror Comics: Fiends, Freaks and Fantastic Creatures, 1940s-1980s. McFarland & Company, Incorporated Publishers, 2014.

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36

Towlson, Jon. Candyman. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325543.001.0001.

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When Candyman was released in 1992, Roger Ebert gave it his thumbs up, remarking that the film was “scaring him with ideas and gore, rather than just gore.” Indeed, Candyman is almost unique in 1990s horror cinema in that it tackles its sociopolitical themes head on. As critic Kirsten Moana Thompson has remarked, Candyman is “the return of the repressed as national allegory”: the film's hook-handed killer of urban legend embodies a history of racism, miscegenation, lynching, and slavery, “the taboo secrets of America's past and present.” This book considers how Candyman might be read both as a “return of the repressed” during the George H. W. Bush era, and as an example of 1990s neoconservative horror. It traces the project's development from its origins as a Clive Barker short story (The Forbidden); discusses the importance of its gritty real-life Cabrini-Green setting; and analyzes the film's appropriation (and interrogation) of urban myth. The two official sequels (Candyman: Farewell to the Flesh [1995] and Candyman: Day of the Dead [1999]) are also considered, plus a number of other urban myth-inspired horror movies such as Bloody Mary (2006) and films in the Urban Legend franchise. The book features an in-depth interview with Candyman's writer-director Bernard Rose.
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37

Horror Films of the 1980s. McFarland & Company, 2007.

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38

Muir, John Kenneth. Horror Films of the 1970s. McFarland, 2007.

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39

Mank, Gregory William. Women In Horror Films, 1930s. McFarland & Company, Inc., Publishers, 2005.

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40

Women In Horror Films, 1940s. McFarland & Company, Inc., Publishers, 2005.

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41

Horror films of the 1980s. McFarland, 2012.

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42

Tsang, Raymond. What Can a Neoi Gwei Teach Us? Adaptation as Reincarnation in Hong Kong Horror of the 1950s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0002.

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Many Hong Kong horror films of the 1950s were pedagogical in nature, and subsequently had a great influence on the Hong Kong New Wave (1980–90). Without examining these earlier films, we cannot fully understand the practice of adaptation and the depiction of the neoi gwei (female ghost) in New Wave horror. Because of the criticism from both intellectuals and cultural elites, earlier Cantonese filmmakers had tried to elevate Cantonese cinema since the 1930s, by the means of making films with ‘healthy’ themes of nationalism and anti-superstition. In the 1950s one of the means was adaptation of classic literary novels and folk tales. Interestingly, mainly dominated by stories of female ghosts, horror films – forbidden subjects in promoting ‘healthy’ Cantonese films – were often used so as to mount social and cultural interventions. This chapter predominantly focuses on two Cantonese horror films, Beauty Raised from the Dead (1956) and Nightly Cry of the Ghost (1957), in order to examine the reincarnation of neoi gwei. I argue that the little-studied Hong Kong horror films of the 1950s can be understood as a site of political and cultural intervention and dialogue. Most of these films are about reincarnation. The production of these films can also been understood as a process of ‘reincarnation’. The practice and choice of adaptation are always a matter of politics. These filmmakers not only gave new life to various literary sources, but also created social interventions in the 1950s, exploring women’s liberation, the enlightenment of science and revolutionary potentiality.
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43

Forshaw, Barry. The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.001.0001.

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The 1991 film The Silence of the Lambs, based on Thomas Harris's bestseller, was a game-changer in the fields of both horror and crime cinema. FBI trainee Clarice Starling was a new kind of heroine, vulnerable, intuitive, and in a deeply unhealthy relationship with her monstrous helper/opponent, the serial killer Hannibal Lecter. Jonathan Demme's film skillfully appropriated the tropes of police procedural, gothic melodrama and contemporary horror to produce something entirely new. The resulting film was both critically acclaimed and massively popular, and went on to have an enormous influence on 1990s genre cinema. This book closely examines the factors that contributed to the film's impact, including the revelatory performances of Jodie Foster and Anthony Hopkins in the lead roles.
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44

After Dracula The 1930s Horror Film. I.B.Tauris & Co Ltd, 2013.

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45

Brown, Simon. Creepshow. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325918.001.0001.

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Released in cinemas in 1982, Creepshow is typically regarded as a minor entry in both the film output of George A. Romero and the history of adaptations of the works of Stephen King. Yet this lack of critical attention hides the fact that Creepshow is the only full collaboration between America's bestselling author of horror tales and one of the masters of modern American horror cinema. Long considered too mainstream for the director of Dawn of the Dead (1978), too comic for the author that gave audiences the film versions of Carrie (1976) and The Shining (1980), and too violent for a cinemagoing public turning away from gore cinema in the autumn of 1982, Creepshow is here reassessed. The book examines the making and release of the film and its legacy through a comic-book adaptation and two sequels. The book's analysis focuses on the key influences on the film, not just Romero and King, but also the anthology horrors of Amicus Productions, body horror cinema, and the special make-up effects of Tom Savini, the relationship between horror and humour, and most notably the tradition of EC horror comics of the 1950s, from which the film draws both its thematic preoccupations and its visual style. Ultimately the book argues that not only is Creepshow a major work in the canons of Romero and King, but also that it represents a significant example of the portmanteau horror film, of the blending of horror and comedy, and finally, decades before the career of Zack Snyder (Watchmen, Man of Steel), of attempting to recreate a comic book aesthetic on the big screen.
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46

Science Fiction, Fantasy and Horror, 1990 (Science Fiction, Fantasy, and Horror). Locus Pub, 1991.

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47

Walden, Victoria. Studying Hammer Horror. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781906733322.001.0001.

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When Hammer Productions was formed in the 1920s, no one foresaw the impact this small, independent studio would have on the international film market. Christopher Lee's mesmerizing, animalistic, yet gentlemanly performance as Dracula, Frankenstein's Monster, and the Mummy were celebrated worldwide, and the Byronic qualities of Peter Cushing's Dr. Frankenstein, among his many other Hammer characters, proved impossible to forget. Hammer maintained consistent period settings, creating a timeless and enchanting aesthetic. This book treats Hammer as a quintessentially British product and through a study of its work investigates larger conceptions of national horror cinemas. The book examines genre, auteur theory, stardom, and representation within case studies of Curse of Frankenstein (1957), Twins of Evil (1971), and Hammer's latest film, Beyond the Rave (2008). The book weighs Hammer's impact on the British film industry, past and present. Intended for students, fans, and general readers, this book transcends superficial preconceptions of Hammer horror in order to reach the essence of Hammer.
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48

Luo, Liang. The White Snake in Hong Kong Horror Cinema: from Horrific Tales to Crowd Pleasers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0003.

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Considered one of the four legends in the Chinese oral tradition, the legend of the White Snake and its theatrical and popular cultural metamorphoses played an important role in the pre-cinematic origins of Hong Kong horror cinema. This chapter surveys the changing representation of gender and horror in a series of films based on the White Snake legend from the 1920s to the 1970s. Centred on a very horrific concept (a monstrous snake disguised as a beauty and married to a human male), these films nonetheless enrich or even challenge our understanding of the genre of horror cinema in their service to a wide range of other genres: operatic performance, romantic melodrama, fantasy adventure, slapstick comedy, and social and political commentary. In addition to challenging the very concept of horror, this cluster of White Snake films poses further challenges to the idea of “Hong Kong cinema,” as it ranges from a Tokyo production, a Shanghai production, a Hong Kong-Japan coproduction, to a production based in Hong Kong with South Asian distributors, and a Hong Kong-Taiwan coproduction with a Shaw Brothers director.
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49

Muir, John Kenneth. Horror Films of the 1970s, Volume 2. McFarland & Company, 2007.

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50

Bleeding Skull!: A 1980s Trash-Horror Odyssey. Headpress, 2013.

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