By Peter Hutchings
This old Dictionary of Horror movies lines the advance of horror cinema from the start of the twentieth century to the current day. this can be performed via a chronology, an introductory essay, a bibliography, and 1000's of cross-referenced dictionary entries. Entries disguise the entire significant motion picture villains, together with Frankenstein and his monster, the vampire, the werewolf, the mum, the zombie, the ghost, and the serial killer; the movie administrators, manufacturers, writers, actors, cinematographers, makeup artists, lighting tricks technicians, and composers who've helped to form horror historical past; major creation businesses and the key motion pictures that experience come to face as milestones within the improvement of the horror style; and different nationwide traditions in horror cinema in addition to horror's most well-liked topics, codecs, conventions, and cycles.
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Additional resources for Historical Dictionary of Horror Cinema
Horror comics, and they all exhibited an urbane and often cynical sense of humor, something that again rendered them quite distinct from the Hammer product. The twist endings which became an essential feature of the Amicus anthology quickly became predictable—usually the characters narrating the stories within the film were revealed as already dead or as doomed to die— but the quality of some of the individual stories was remarkable. Amicus was less successful with its single-narrative features.
The British company Amicus produced a series of horror anthologies during the 1960s and 1970s, beginning with Dr. Terror’s House of Horrors (1964) and including Torture Garden (1967) and Tales from the Crypt (1972). C. horror comics—and its weaknesses—notably an unevenness of quality from one segment to another and often feeble linking narratives. Other anthology horrors sharing both these virtues and faults include The Uncanny (1977), Creepshow (1982), Twilight Zone: the Movie (1983), Cat’s Eye (1985), After Midnight (1989), Due occhi diabolici (Two Evil Eyes) (1990), Tales from the Darkside: the Movie (1990), Necronomicon (1994), Quicksilver Highway (1997), Bangkok Haunted (2001), Cradle of Fear (2001), and Saam gaang yi (Three .
1962), and a series of macabre thrillers from producer-director William Castle, among them The House on Haunted Hill (1959) and The Tingler (1959). Meanwhile, at the lower end of the industry, grindhouse specialist Herschell Gordon Lewis was pioneering the gore or splatter film with the much-censored Blood Feast (1963) and Two Thousand Maniacs (1964), while an unclassifiable oddity such as the dream-like Carnival of Souls (1962) was a reminder that generic variety was again the order of the day.