By Denis Meikle

ISBN-10: 0810863545

ISBN-13: 9780810863545

No corporation within the background of cinema did extra to legitimize the horror movie than Hammer Films_the small British autonomous, which operated out of its tiny Bray Studios at the banks of the River Thames. From the Gothic splendor of The Curse of Frankenstein and Dracula to the violent sexploitation of The Vampire fanatics and Dr. Jekyll and Sister Hyde, the Hammer identify stood for something to a new release of flicks lovers because the time period 'Hammer Horror' turned part of the language. This revised and up-to-date variation of A historical past of Horrors lines the existence and 'spirit' of Hammer, from its fledgling days within the past due Forties via its successes of the Fifties and '60s to its decline and eventual liquidation within the overdue Nineteen Seventies. With the particular participation of the entire team of workers who have been key to Hammer's luck, Denis Meikle paints a bright and engaging photo of the increase and fall of a movie empire, delivering new and revealing insights into 'the fact at the back of the legend.' a lot has been written approximately Hammer's movies, yet this can be the one booklet to inform the tale of the corporate itself from the point of view of these who ran it in its heyday and who helped to show it right into a common byword for terror at the monitor. This definitive heritage additionally contains forged and credit listings for the 'Hammer Horrors' and an entire filmography of all of Hammer's characteristic productions.

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Additional resources for A History of Horrors: The Rise and Fall of the House of Hammer

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The different stories are told simultaneously and, since it shows characters from the different families who cross paths occasionally, it can be assumed that the characters reside in the same Los Angeles neighborhood. However, the very last scene reveals that these four families are even closer than the spectators may have thought since they live on the four corners of a crossroads – thus reinforcing the idea that, in spite of cultural and racial differences, a closer look at the four households reveals more similarities than differences among them.

As James Naremore has claimed in connection with film noir, it is precisely through the relationships of homogeneity, filiation, and authentication activated in the process of classification itself that generic nature is brought to the fore (1995–6: 14). In what follows, I shall explore these interfilmic relationships in THEORIZING THE MULTI-PROTAGONIST FILM 27 a selection of critical material on multi-protagonist films. Though relationships usually start at a formal level – the use of a similar narrative structure – specific narrative conventions, semantic elements, and thematic issues are also often evoked.

Similarly, Traffic’s deployment of a multiplicity of characters and points of view to describe a cross-section of society can also be found in movies like La regle du jeu, Boogie Nights, or Gosford Park. Traffic, therefore, is a multi-protagonist film even though it may not use all the conventions associated with the genre. Generic nature depends not simply on a set of sufficient and necessary conventions but also on various types of connections among texts. Through their repeated use in individual movies, these common elements emerge as the conventions of the genre.

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