By Wheeler Winston Dixon
Arranged by means of many years, with outliers and franchise movies overlapping a few years, this one-stop sourcebook reveals the ancient origins of characters reminiscent of Dracula, Frankenstein, and the Wolfman and their quite a few 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 procedure and the way its huge, immense luck in American and eu tradition improved globally over time.
Dixon examines key classes within the horror film-in which the elemental precepts of the style have been validated, then banished into very easily trustworthy and malleable types, after which, after collapsing into parody, rose time and again to create new degrees of depth and risk. A background of Horror, supported by way of infrequent stills from vintage motion pictures, brings over fifty undying horror movies into frightfully transparent concentration, zooms in on contemporary best horror sites, and champions the celebrities, administrators, and subgenres that make the horror movie so intriguing and well liked by modern audiences.
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Teaming with the only person who would now employ him despite his raging morphine habit, Lugosi found himself working for bottom-rung director Edward D. Wood Jr. in Bride of the Monster (aka Bride of the Atom, 1955), in which the seventy-three-year-old actor portrayed the satanic Dr. Vornoff, bent on creating a race of “atomic supermen” deep in the Louisiana swamps. Lugosi received a scant $1, 000 for the role. After committing himself to the California State Hospital as a hopeless drug addict in 1955, the actor agreed to work with Wood on another project, tentatively titled Grave of the Vampire, for which Lugosi shot a few minutes of scenes just days before his death.
As Stone warns Tom when the young man tells the captain that he plans to expose him, no one will give any credence to the charges because of Stone’s rank and reputation. The abuse of power presented in the ﬁlm resonates far beyond the series of gruesome murders on the ship. Stone stands for every petty bureaucrat who thinks that by blending in with the dominant order, his brutal nature will be both concealed and even encouraged. 48 A History of Horror In 1944 Lewton’s small unit was assigned to create a sequel to his biggest hit, Cat People, and given the distinctly unpromising title of The Curse of the Cat People.
The ﬁlm opens promisingly with an extended, atmospheric grave-robbing sequence shot in a studio graveyard; two resurrectionists choose the grave of the Wolf Man, Lawrence Talbot, as their latest target and are summarily torn to shreds by the now immortal lycanthrope. As the full moon recedes and Talbot returns to human form, his ﬁrst and seemingly only thought is a wish to die—to be free of the curse of the Pentagram (the mark of the werewolf) forever. His search for release leads him to the ofﬁce of Dr.