The Creature from the Black Lagoon, the Tingler, the Mole Peopleathey stalked and oozed into audiencesa minds during the era that followed Boris Karloffas Frankenstein and preceded terrors like Freddy Krueger (A Nightmare on Elm Street) and Chucky (Childas Play). Ghouls, Gimmicks, and Gold pulls off the masks and wipes away the slime to reveal how the monsters that frightened audiences in the 1950s and 1960saand the movies they crawled and staggered throughareflected fundamental changes in the film industry. Providing the first economic history of the horror film, Kevin Heffernan shows how the production, distribution, and exhibition of horror movies changed as the studio era gave way to the conglomeration of New Hollywood. Heffernan argues that major cultural and economic shifts in the production and reception of horror films began at the time of the 3-d film cycle of 1953a54 and ended with the 1968 adoption of the Motion Picture Association of Americaas ratings system and the subsequent development of the adult horror movieaepitomized by Rosemaryas Baby. He describes how this period presented a number of daunting challenges for movie exhibitors: the high costs of technological upgrade, competition with television, declining movie attendance, and a diminishing number of annual releases from the major movie studios. He explains that the production and distribution branches of the movie industry responded to these trends by cultivating a youth audience, co-producing features with the film industries of Europe and Asia, selling films to television, and intensifying representations of sex and violence. Shining through Ghouls, Gimmicks, and Gold is the delight of the true horror movie buff, the fan thrilled to find The Brain that Wouldnat Die on television at 3 am.Shining through Ghouls, Gimmicks, and Gold is the delight of the true horror movie buff, the fan thrilled to find The Brain that Wouldnat Die on television at 3 am.
|Title||:||Ghouls, Gimmicks, and Gold|
|Publisher||:||Duke University Press - 2004-03-04|