The 1940s is a lost decade in horror cinema, undervalued and written out of most horror scholarship. This collection revises, reframes, and deconstructs persistent critical binaries that have been put in place by scholarly discourse to label 1940s horror as somehow inferior to a “classical” period or “canonical” mode of horror in the 1930s, especially as represented by the monster films of Universal Studios. The book's four sections re-evaluate the historical, political, economic, and cult...

Horror, The Film Reader brings together key articles to provide a comprehensive resource for students of horror cinema. Mark Jancovich's introduction traces the development of horror film from The Cabinet of Dr. Caligari to The Blair Witch Project, and outlines the main critical debates. Combining classic and recent articles, each section explores a central issue of horror film, and features an editor's introduction outlining the context of debates.

Contributions by Timothy P. Barnard, Michael Cohen, Rayna Denison, Martin Flanagan, Sophie Geoffroy-Menoux, Mel Gibson, Kerry Gough, Jonathan Gray, Craig Hight, Derek Johnson, Pascal Lefevre, Paul M. Malone, Neil Rae, Aldo J. Regalado, Jan van der Putten, and David WiltIn Film and Comic Books contributors analyze the problems of adapting one medium to another; the translation of comics aesthetics into film; audience expectations, reception, and reaction to comic book-based...

In Film and Comic Books contributors analyze the problems of adapting one medium to another; the translation of comics aesthetics into film; audience expectations, reception, and reaction to comic book-based films; and the adaptation of films into comics.A wide range of comic/film adaptations are explored, including superheroes (Spider-Man), comic strips (Dick Tracy), realist and autobiographical comics (American Splendor, Ghost World), and photo...