After Dracula tells of films set in London usic halls and Yorkshire coal mines; South Sea Islands and Hungarian modernist houses of horror; with narrators that survey the outskirts of contemporary Paris and travel back in time to ancient Egypt. Alison Peirse argues that Dracula (1931) has been canonised to the detriment of other innovative and original 1930s horror films in Europe and America. By casting out the deified vampire; she reveals a cycle of films made over the 1930s that straddle both the pre- and post-regulatory era of the Hays Production Code an stringent censorship from the British Board of Film Censors. These films are indepenedent and studio productions; literary adaptations; folktales and original screenplays; and include Werewolf of London; The Man Who Changed His Mind; Island of Lost Souls and Vampyr. The book considers the horror genres international evolution during this period; engaging with a number of European horror films that have hitherto received cursory attention. It focuses on the interplay between Continental; British and transatlantic contexts; and particularly on the intriguing; the obscure and the underrated.
#2479922 in eBooks 2014-03-01 2014-06-17File Name: B00L1WUI5S
Review
0 of 0 people found the following review helpful. I enjoyed this bookBy Chris L. HarrimanI enjoyed this book. Id seen a lot of these pictures over the years but the overriding theme of the lack of preservation of historical buildings in Council Bluffs is timely and relevant. Recommend this book0 of 0 people found the following review helpful. Five StarsBy Susan E. MooneyThanks for writing about Council Bluffs.0 of 0 people found the following review helpful. HometownBy Senior veteranMemories of my home town.
