Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.003.0006
- Subject:
- Film, Television and Radio, Film
Chapter 6 returns to industry, and charts the re-emergence of Hammer Films, which, after thirty years, finally went back into film production in the 2000s. Drawing from primary sources such as the ...
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Chapter 6 returns to industry, and charts the re-emergence of Hammer Films, which, after thirty years, finally went back into film production in the 2000s. Drawing from primary sources such as the industry trade press and interviews, the chapter reflects on Hammer’s recent history, considering briefly the tumultuous 1980s and 1990s, before assessing the company’s market positioning between its re-launch in 2007 with the web serial Beyond the Rave (Matthias Hoene, 2008), through its theatrical success with the blockbuster The Woman in Black in 2012, up until the release of its lower-budgeted ghost story, The Quiet Ones (John Pogue) in 2014. Ultimately, taking into account Hammer’s prominence in much discourse around classic British horror, I use its millennial incarnation to assess its relevance (or not) to the identity of British horror in the twenty-first century.Less
Chapter 6 returns to industry, and charts the re-emergence of Hammer Films, which, after thirty years, finally went back into film production in the 2000s. Drawing from primary sources such as the industry trade press and interviews, the chapter reflects on Hammer’s recent history, considering briefly the tumultuous 1980s and 1990s, before assessing the company’s market positioning between its re-launch in 2007 with the web serial Beyond the Rave (Matthias Hoene, 2008), through its theatrical success with the blockbuster The Woman in Black in 2012, up until the release of its lower-budgeted ghost story, The Quiet Ones (John Pogue) in 2014. Ultimately, taking into account Hammer’s prominence in much discourse around classic British horror, I use its millennial incarnation to assess its relevance (or not) to the identity of British horror in the twenty-first century.
Wheeler Winston Dixon
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780748623990
- eISBN:
- 9780748653614
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748623990.003.0005
- Subject:
- Film, Television and Radio, Film
Peter Collinson's The Penthouse (1967), a key British noir film of the 1960s, followed in the tradition of Joseph Losey's more restrained dramas of claustrophobic domesticity gone horribly wrong in ...
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Peter Collinson's The Penthouse (1967), a key British noir film of the 1960s, followed in the tradition of Joseph Losey's more restrained dramas of claustrophobic domesticity gone horribly wrong in The Servant (1963) and Accident (1967). London in the early 1960s was typically depicted as a zone of carefree abandon in such films as Richard Lester's Help! (1965), A Hard Day's Night (1964), and his sex comedy The Knack...and How to Get It (1965). But beneath the gloss and the electricity of the era, an undercurrent was readily detectable. Pop stardom proved to be utterly transient, and as drugs and disillusion set in, the mood became more somber. Perhaps the most nihilist film of the 1960s British new wave is Michelangelo Antonioni's Blowup. No consideration of film noir in the 1960s would be complete without a few thoughts on Hammer Films, most famous for their color gothic horror films, many directed by Terence Fisher.Less
Peter Collinson's The Penthouse (1967), a key British noir film of the 1960s, followed in the tradition of Joseph Losey's more restrained dramas of claustrophobic domesticity gone horribly wrong in The Servant (1963) and Accident (1967). London in the early 1960s was typically depicted as a zone of carefree abandon in such films as Richard Lester's Help! (1965), A Hard Day's Night (1964), and his sex comedy The Knack...and How to Get It (1965). But beneath the gloss and the electricity of the era, an undercurrent was readily detectable. Pop stardom proved to be utterly transient, and as drugs and disillusion set in, the mood became more somber. Perhaps the most nihilist film of the 1960s British new wave is Michelangelo Antonioni's Blowup. No consideration of film noir in the 1960s would be complete without a few thoughts on Hammer Films, most famous for their color gothic horror films, many directed by Terence Fisher.
Valentina Vitali
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780719099656
- eISBN:
- 9781526109774
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719099656.003.0006
- Subject:
- Film, Television and Radio, Film
A brief historical overview of the discourses by which in Britain, until the late 1990s, popular genres were excluded from accounts of national cinemas, and of the gradual but very slow recognition, ...
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A brief historical overview of the discourses by which in Britain, until the late 1990s, popular genres were excluded from accounts of national cinemas, and of the gradual but very slow recognition, from the late 1990s, of these genres as worthy objects of film studies.Less
A brief historical overview of the discourses by which in Britain, until the late 1990s, popular genres were excluded from accounts of national cinemas, and of the gradual but very slow recognition, from the late 1990s, of these genres as worthy objects of film studies.
