Think you know all there is to know about horror movies? Well, think again. 1000 Amazing Horror Movie Facts is chock full of fascinating and unusual facts about classic (and not so classic) horror movies. Blockbusters, B-movies, slashers, ghost stories, video nasties, anthologies, sequels, gore, cursed productions, what might have been, casting, controversy, and so on. So dim the lights and prepare to enter the spooky and blood drenched world of horror movies....

Christopher Walken nearly played Han Solo. Donald Trump's favorite movie is Citizen Kane. Originally, Aladdin was meant to be Chinese. The title character in ET - The Extra-Terrestrial is called Zreck. Over a million props were used for the film, Ben-Hur. The dog in The Wizard of Oz got paid more than some of the actors. The iconic "BWONG" sound heard in the Inception trailer is never used in the film. In The Lord of the Rings, Aragorn is 87. Mary Poppins didn't coin the word "supercalifragilisticexpialidocious." The ending of Planet of the Apes is completely different in the original novel. Pulp Fiction was nearly called Black Mask. Most of the "snakes" in Raiders of the Lost Ark are actually legless lizards. This Is Spinal Tap is the only film on IMDb that is rated out of 11. Most of the story from The Matrix was stolen from a comic book called The Invisibles.

The time machine in Back to the Future was meant to be a refrigerator. Steve Carell wanted to play the Joker in The Dark Knight. William Wallace was never called Braveheart. Die Hard started off as a sequel to Commando. Aliens were meant to appear in Dr. Strangelove. ET - The Extra-Terrestrial was nearly called A Boy's Life. Blade Runner and Alien take place in the same universe. The line "Play it again, Sam" is never said in Casablanca. Russell Crowe thought his dialogue in Gladiator was "garbage." The shark barely appears in Jaws because it kept malfunctioning. The Lion King is the most successful VHS film ever. Although Viggo Mortensen stars in The Return of the King, he thinks the film is overrated. Orson Welles hated the twist in Citizen Kane. In Star Wars, Han Solo was meant to be a green, gilled, noseless alien. Christopher Walken, Sean Connery, Samuel L. Jackson, and Tommy Lee Jones were considered for the role of Morpheus in The Matrix.

This authoritative collection of introductory and specialized readings explores the rich and innovative history of this period in American cinema. Spanning an essential range of subjects from the early 1900s Nickelodeon to the decline of the studio system in the 1960s, it combines a broad historical context with careful readings of individual films. Charts the rise of film in early twentieth-century America from its origins to 1960, exploring mainstream trends and developments, along with topics often relegated to the margins of standard film histories Covers diverse issues ranging from silent film and its iconic figures such as Charlie Chaplin, to the coming of sound and the rise of film genres, studio moguls, and, later, the Production Code and Cold War Blacklist Designed with both students and scholars in mind: each section opens with an historical overview and includes chapters that provide close, careful readings of individual films clustered around specific topics Accessibly structured by historical period, offering valuable cultural, social, and political contexts Contains careful, close analysis of key filmmakers and films from the era including D.W. Griffith, Charles Chaplin, Buster Keaton, Erich von Stroheim, Cecil B. DeMille, Don Juan, The Jazz Singer, I Am a Fugitive from a Chain Gang, Scarface, Red Dust, Glorifying the American Girl, Meet Me in St. Louis, Citizen Kane, Bambi, Frank Capra's Why We Fightseries, The Strange Love of Martha Ivers, Rebel Without a Cause, Force of Evil, and selected American avant-garde and underground films, among many others. Additional online resources such as sample syllabi, which include suggested readings and filmographies for both general specialized courses, will be available online. May be used alongside American Film History: Selected Readings, 1960 to the Present, to provide an authoritative study of American cinema through the new millennium

Muhammad Ali was considered for the role of Superman. Michael Keaton and Tim Burton never read Batman until they made the film. The director of X-Men thought Hugh Jackman would be an awful Wolverine. It cost $100,000 to make one Spider-Man costume. It took 360 days for one animator to make one shot in Avengers: Age of Ultron. Batman Begins was supposed to be called Batman: The Frightening. In the court room scene of The Dark Knight Rises, Bane can be seen knitting in the background. Ironically, Nicholas Cage had to have his Ghost Rider tattoos covered to play Ghost Rider. Iron Man's AI unit, Jarvis stands for "Just A Rather Very Intelligent System." In the Dark Knight, Heath Ledger kept licking his lips as the Joker because the makeup kept dripping into his mouth. Bruce Wayne cameos in the beginning of Watchmen. Chris Evans turned down Captain America three times and got the part without auditioning. In Guardians of the Galaxy, Benicio Del Toro based his character, The Collector, off Liberace.

Wonder Woman is banned in Lebanon.Shazam was in development for 19 years.Justice League was nearly animated.Most people don't notice that Miley Cyrus stars in Guardians of the Galaxy Vol. 2.It took two years to edit Logan.In every film in The Dark Knight trilogy, the main villain pretends to be a henchman.Rhys Ifans despises comic books despite the fact he played the Lizard in Amazing Spider-Man.Originally, Thor was going to be played by two actors.Christian Bale put on 100lbs to play Batman.Will Smith nearly played Superman.Every US flag in Watchmen has 51 stars.Iron Man was rejected 30 times for being "too obscure."Anthony Hopkins and Hulk Hogan nearly played Mister Freeze.The film, Daredevil, is directly responsible for creating the Marvel Cinematic Universe.Stan Lee's favorite Marvel film is Spider-Man.Howard the Duck appears in the final battle in Avengers: Endgame.

Steve Buscemi nearly played Freddy Krueger. The ship in Alien was meant to be called The Snark. Eddie Murphy was meant to play the lead in Get Out. Evil Dead was turned into a Broadway musical in 2006. The Fly was turned into an opera in 2008. Friday the 13th was nearly called Long Night at Camp Blood. People complained about the Frankenstein film because it was too different from the novel. George A. Romero forgot to copyright Night of the Living Dead for 21 years. The theme song of Dracula is from Swan Lake. Jaws was meant to be called Stillness in the Water.

Using an interdisciplinary approach, Film, History and Memory broadens the focus from 'history', the study of past events, to 'memory', the processes – individual, generational, collective or state-driven – by which meanings are attached to the past.

Over the last century, many 16th- and 17th-century events and personalities have been brought before home, cinema, exhibition, festival and theatrical audiences. This collection examines these representations, looking at recent television series, documentaries, pageantry, theatre and popular culture in various cultural and linguistic guises.

Film Music: A History explains the development of film music by considering large-scale aesthetic trends and structural developments alongside socioeconomic, technological, cultural, and philosophical circumstances. The book’s four large parts are given over to Music and the "Silent" Film (1894--1927), Music and the Early Sound Film (1895--1933), Music in the "Classical-Style" Hollywood Film (1933--1960), and Film Music in the Post-Classic Period (1958--2008). Whereas most treatments of the subject are simply chronicles of "great film scores" and their composers, this book offers a genuine history of film music in terms of societal changes and technological and economic developments within the film industry. Instead of celebrating film-music masterpieces, it deals—logically and thoroughly—with the complex ‘machine’ whose smooth running allowed those occasional masterpieces to happen and whose periodic adjustments prompted the large-scale twists and turns in film music’s path.