Download British Horror Cinema by Steve Chibnall, Julian Petley PDF

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By Steve Chibnall, Julian Petley

British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The Ghoul and Dark Eyes of London to said classics corresponding to Peeping Tom and The Wicker Man.

Contributors discover the contexts within which British horror motion pictures were censored and labeled, judged by way of their critics and ate up via their fanatics. Uncovering overlooked smooth classics like Deathline, and addressing matters akin to the illustration of relatives and ladies, they think about the Britishness of British horror and look at sub-genres reminiscent of the psycho-thriller and witchcraftmovies, the paintings of the Amicus studio, and key filmmakers together with Peter Walker.

Chapters include:

  • the 'Psycho Thriller'
  • the British censors and horror cinema
  • femininity and horror movie fandom
  • witchcraft and the occult in British horror
  • Horrific motion pictures and Nineteen Thirties British Cinema
  • Peter Walker and Gothic revisionism.

Also featuring a finished filmography and interviews with key administrators Clive Barker and Doug Bradley, this can be one source movie reviews scholars may still not be without.

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Example text

But what was most distressing about the BBFC’s tampering with Henry was that not only did Ferman choose to cut McNaughton’s vision, he also surreptitiously re-edited it in order, quite deliberately, to change the very meaning of the film. In the movie’s single most important sequence, McNaughton presents us with a degraded image of the murderers’ crimes, before pulling back to reveal that the killers, Henry and Otis, are (like us) merely watching the atrocities on video-playback, for their own delectation.

Thus, its Annual Report 1999 notes that it was potentially harmful to a significant proportion of its likely viewers, due to a profusion of gross sexual violence. Cuts were considered. However, the quantity of unacceptable material rendered such an approach impossible since it would be unlikely to change the general tone or approach of the work. (BBFC 2000: 22) It is also worth pointing out that one of the reasons for finally passing The Texas Chain Saw Massacre uncut on film and video was that ‘it was decided that the film’s horrors were unlikely to be taken too seriously’ (ibid: 22).

Two years after having been first snubbed by the Board (but accepted by the Greater London Council and a number of other local authorities), The Texas Chain Saw Massacre found its way back to the BBFC, where Ferman spent some time attempting to dissect the movie’s magical spell before concluding that extensive cuts made no difference at all to the ‘awful’ tone of the film. : 253), it must instead be rendered unwatchable. The British censors and horror cinema 17 While Ferman’s savage treatment of The Texas Chain Saw Massacre in the 1970s was clearly indicative of the same general contempt for horror cinema which had underwritten British film censorship since its inception, the most sustained campaign against the genre was to be waged in the 1980s and 1990s.

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