Now over twenty years old, the original edition of Nightmare Movies has retained its place as a true classic of cult film criticism. In this new edition, Kim Newman brings his seminal work completely up-to-date, both reassessing his earlier evaluations and adding a second part that assess the last two decades of horror films with all the wit, intelligence and insight for which he is known. Since the publication of the first edition, horror has been on a gradual upswing, and taken a new and stronger hold over the film industry. Newman negotiates his way through a vast back-catalogue of horror, charting the on-screen progress of our collective fears and bogeymen from the low budget slasher movies of the 60s, through to the slick releases of the 2000s, in a critical appraisal that doubles up as a genealogical study of contemporary horror and its forebears. Newman invokes the figures that fuel the ongoing demand for horror - the serial killer; the vampire; the werewolf; the zombie - and draws on his remarkable knowledge of the genre to give us a comprehensive overview of the modern myths that have shaped the imagination of multiple generations of cinema-goers. Nightmare Movies is an invaluable companion that not only provides a newly updated history of the darker side of film but a truly entertaining guide with which to discover the less well-trodden paths of horror, and re-discover the classics with a newly instructed eye.

This comprehensive bibliography covers writings about vampires and related creatures from the 19th century to the present. More than 6,000 entries document the vampire's penetration of Western culture, from scholarly discourse, to popular culture, politics and cook books. Sections by topic list works covering various aspects, including general sources, folklore and history, vampires in literature, music and art, metaphorical vampires and the contemporary vampire community. Vampires from film and television--from Bela Lugosi's Dracula to Buffy the Vampire Slayer, True Blood and the Twilight Saga--are well represented.

Aimed at teachers and students new to the subject, Studying Horror Cinema is a comprehensive survey of the genre from silent cinema to its twenty-first century resurgence. Structured as a series of thirteen case studies of easily accessible films, it covers the historical, production, and cultural context of each film, together with detailed textual analysis of key sequences. Sitting alongside such acknowledged classics as Psycho and Rosemary’s Baby are analyses of influential non-English language films as Kwaidan, Bay of Blood, and Let the Right One In. The author concludes with a chapter on 2017’s blockbuster It, the most financially successful horror film of all time, making Studying Horror Cinema the most up-to-date overview of the genre available.

Horror cinema flourishes in times of ideological crisis and national trauma--the Great Depression, the Cold War, the Vietnam era, post-9/11--and this critical text argues that a succession of filmmakers working in horror--from James Whale to Jen and Sylvia Soska--have used the genre, and the shock value it affords, to challenge the status quo during these times. Spanning the decades from the 1930s onward it examines the work of producers and directors as varied as George A. Romero, Pete Walker, Michael Reeves, Herman Cohen, Wes Craven and Brian Yuzna and the ways in which films like Frankenstein (1931), Cat People (1942), The Woman (2011) and American Mary (2012) can be considered "subversive."

British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The Ghoul and Dark Eyes of London to acknowledged classics such as Peeping Tom and The Wicker Man. Contributors explore the contexts in which British horror films have been censored and classified, judged by their critics and consumed by their fans. Uncovering neglected modern classics like Deathline, and addressing issues such as the representation of family and women, they consider the Britishness of British horror and examine sub-genres such as the psycho-thriller and witchcraftmovies, the work of the Amicus studio, and key filmmakers including Peter Walker. Chapters include: the 'Psycho Thriller' the British censors and horror cinema femininity and horror film fandom witchcraft and the occult in British horror Horrific films and 1930s British Cinema Peter Walker and Gothic revisionism. Also featuring a comprehensive filmography and interviews with key directors Clive Barker and Doug Bradley, this is one resource film studies students should not be without.

Horror is one of the most enduring and controversial of all cinematic genres. Horror films range from subtle and poetic to graphic and gory, but what links them together is their ability to frighten, disturb, shock, provoke, delight, irritate, and amuse audiences. Horror’s capacity to take the form of our evolving fears and anxieties has ensured not only its notoriety but also its long-term survival and international popularity. This second edition has been comprehensively updated to capture all that is important and exciting about the horror genre as it exists today. Its new entries feature the creative personalities who have developed innovative forms of horror, and recent major films and cycles of films that ensure horror’s continuing popularity and significance. In addition, many of the other entries have been expanded to include reference to the contemporary scene, giving a clear picture of how horror cinema is constantly renewing and transforming itself. The Historical Dictionary of Horror Cinema traces the development of the genre from its beginnings to the present. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries. The entries cover all major movie villains, including Frankenstein and his monsters, the vampire, the werewolf, the mummy, the zombie, the ghost and the serial killer; film directors, producers, writers, actors, cinematographers, make-up artists, special-effects technicians, and composers who have helped shape horror history; significant production companies; major films that are milestones in the development of the horror genre; and different national traditions in horror cinema – as well as popular themes, formats, conventions, and cycles.

Eighteenth-century critics believed Gothic fiction would inspire deviant sexuality, instill heretical beliefs, and encourage antisocial violence--this book puts these beliefs to the test. After examining the assumptions behind critics' fears, it considers nineteenth-century concerns about sexual deviance, showing how Frankenstein, Dr. Jekyll and Mr. Hyde, Dorian Gray, and other works helped construct homosexuality as a pathological, dangerous phenomenon. It then turns to television and film, particularly Buffy the Vampire Slayer and David DeCoteau's direct-to-video movies, to trace Gothicized sexuality's lasting impact. Moving to heretical beliefs, Gothic Realities surveys ghost stories from Dickens's A Christmas Carol to Poltergeist, articulating the relationships between fiction and the "real" supernatural. Finally, it considers connections between Gothic horror and real-world violence, especially the tragedies at Columbine and Virginia Tech.

Horror is one of the most enduring and controversial of all cinematic genres. Horror films range from the subtle and the poetic to the graphic and the gory but what links them all is their ability to frighten, disturb, shock, provoke, delight, irritate, amuse, and bemuse audiences. Horror's capacity to serve as an outlet to capture the changing patterns of our fears and anxieties has ensured not only its notoriety but also its long-term survival and its international popularity. Above all, however, it is the audience's continual desire to experience new frights and evermore-horrifying sights that continue to make films like The Exorcist, A Nightmare on Elm Street, Halloween, Night of the Living Dead, The Texas Chainsaw Massacre, Psycho, Ringu, and The Shining captivate viewers. The A to Z of Horror Cinema traces the development of horror cinema from the beginning of the 20th century to the present day. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries. Entries cover all the major movie villains, including Frankenstein and his monster, the vampire, the werewolf, the mummy, the zombie, the ghost, and the serial killer; the film directors, producers, writers, actors, cinematographers, make-up artists, special effects technicians, and composers who have helped to shape horror history; significant production companies and the major films that have come to stand as milestones in the development of the horror genre; and the different national traditions in horror cinema as well as horror's most popular themes, formats, conventions, and cycles.

Spanish Horror Film is the first in-depth exploration of the genre in Spain from the 'horror boom' of the late 1960s and early 1970s to the most recent production in the current renaissance of Spanish genre cinema, through a study of its production, circulation, regulation and consumption. The examination of this rich cinematic tradition is firmly located in relation to broader historical and cultural shifts in recent Spanish history and as an important part of the European horror film tradition and the global culture of psychotronia.

In 1968, George Romero's film Night of the Living Dead premiered, launching a growing preoccupation with zombies within mass and literary fiction, film, television, and video games. Romero's creativity and enduring influence make him a worthy object of inquiry in his own right, and his long career helps us take stock of the shifting interest in zombies since the 1960s. Examining his work promotes a better understanding of the current state of the zombie and where it is going amidst the political and social turmoil of the twenty-first century. These new essays document, interpret, and explain the meaning of the still-budding Romero legacy, drawing cross-disciplinary perspectives from such fields as literature, political science, philosophy, and comparative film studies. Essays consider some of the sources of Romero's inspiration (including comics, science fiction, and Westerns), chart his influence as a storyteller and a social critic, and consider the legacy he leaves for viewers, artists, and those studying the living dead.