British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers just like the Ghoul and darkish Eyes of London to said classics comparable to Peeping Tom and The Wicker Man.
Contributors discover the contexts within which British horror motion pictures were censored and categorised, judged by way of their critics and ate up by way of their lovers. Uncovering ignored sleek classics like Deathline, and addressing matters corresponding to the illustration of kinfolk and ladies, they give thought to the Britishness of British horror and consider sub-genres corresponding to 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 movies and Nineteen Thirties British Cinema
•Peter Walker and Gothic revisionism.
Also that includes a accomplished filmography and interviews with key administrators Clive Barker and Doug Bradley, this can be one source movie reports scholars shouldn't be without.
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Additional info for British Horror Cinema
In a wave of government- and media-promoted hysteria, horror videos were promptly blamed for everything from inattentiveness at school to muggings and rapes, with teachers, clergymen, politicians and the usual moral entrepreneurs demanding drastic measures to protect the country from video dealers who were bizarrely branded ‘merchants of menace’. However, just as the ﬁlm industry in Britain has always been among the strongest supporters of strict ﬁlm censorship, so the video dealers themselves were as eager as anybody for some form of ofﬁcial regulation to be enforced, particularly since it was they (rather than the video distributors) who generally found themselves open to prosecution under the notoriously unpredictable Obscene Publications Act (OPA), which the director of public prosecutions had decided could be used to prosecute violent material, and not simply pornography – as had been the case in the past.
Even more disturbing is the fact that, at certain moments, critics have effectively demanded even stricter censorship of horror-related titles, notwithstanding the fact that Britain has long had some of the strictest ﬁlm and video censorship in the western world.
Then, in February 2000, in the same press release which announced the passing, after a twenty-ﬁve-year ban, of Just Jaeckin’s soft-core S&M romp The Story of O (1975) (in an abridged print which nevertheless contained all the explicit material which had originally prompted its rejection), the BBFC declared that Last House on the Left was still ‘not suitable for cinema exhibition’, nearly thirty years after its creation. 22 Mark Kermode Whether the BBFC will ultimately prove itself the ally or enemy of horror in the twenty-ﬁrst century only time will tell.
British Horror Cinema