'The older the zombie, the bigger the death needed to raise it.' After a few centuries, the only death 'big enough' is a human sacrifice. I know because I'm an animator. My name is Anita Blake. Working for Animators, Inc. is just a job - like selling insurance. But all the money in the world wasn't enough for me to take on the particular job Harold Gaynor was offering. Somebody else did, though - a rogue animator. Now he's not just raising the dead... he's raising Hell. And it's up to me to stop it.

Hybrid films that straddle more than one genre are not unusual. But when seemingly incongruous genres are mashed together, such as horror and comedy, filmmakers often have to tread carefully to produce a cohesive, satisfying work. Though they date as far back as James Whale’s Bride of Frankenstein (1935), horror-comedies have only recently become popular attractions for movie goers. In The Laughing Dead: The Horror-Comedy Film from Bride of Frankenstein to Zombieland, editors Cynthia J. Miller and A. Bowdoin Van Riper have compiled essays on the comic undead that look at the subgenre from a variety of perspectives. Spanning virtually the entire sound era, this collection considers everything from classics like The Canterville Ghost to modern cult favorites like Shaun of the Dead. Other films discussed include Abbott and Costello Meet Frankenstein, Beetlejuice, Ghostbusters, House on Haunted Hill, ParaNorman, Scream, Vampire’s Kiss, and Zombieland. Contributors in this volume consider a wide array of comedic monster films—from heartwarming (The Book of Life) to pitch dark (The Fearless Vampire Killers) and even grotesque (Frankenhooker). The Laughing Dead will be of interest to scholars and fans of both horror and comedy films, as well as those interested in film history and, of course, the proliferation of the undead in popular culture.

Vol. for 1888 includes dramatic directory for Feb.-Dec.; vol. for 1889 includes dramatic directory for Jan.-May.