An Illustrated History of the Horror Film by Carlos Clarens PDF

By Carlos Clarens

ISBN-10: 0399501118

ISBN-13: 9780399501111

Illustrated background of Horror motion pictures

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Additional info for An Illustrated History of the Horror Film

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For a quarter of a century, the cinema's first concern— aside from such exceptions as Melies— was whistles hoots, evidence of traditional the photographic reproduction of reality. What the theater could not reach, the film easily grasped: a field would be a real field, a street a credible reproduction of a abstraction, looking for its music (the film was twice street. Caligari leaned toward inspiration in painting, sculpture, even as effective when accompanied by selec- An Illustrated History of the Horror Film [ 18 and Richard work and although most of the initial shock has been removed by our familiarity with the work of painters like Kokoschka and Munch (which share some of its qualities) what remains is still a dramatic ballet of light and shadow, a Coppelia in a sinister key.

The Golem arrived in America under the title of The Monster of Fate. It opened in New York the same week the United States broke off diplomatic relations with Germany. The picture's career was a short one, yet it was still fondly remembered by critics years later when postwar German films were making a new bid for the American market. In 1917, Wegener devoted his attention to a falls subject safely devoid of racial overtones, directing a heavily Teutonic film version of The Pied Piper of Hamelin, which nevertheless had charming costumes and acceptable trick photography.

Pean wars. It remains quite an achievement for a country as backward (in terms of cinema) as Germany was then. The Student of Prague was directed by a Dane, Stellan Rye, who succeeded in breaking away from studio interiors, filming many of its scenes in the tortuous alleys of the old quarter or on an ancient bridge dominated by the cathedral tower. The famous Jewish cemetery was reconstructed in a nearby forest when the Hebrew community of Prague refused to allow a movie to be made on DOUBLES, DEMONS, AND THE DEVIL HIMSELF their hallowed grounds.

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An Illustrated History of the Horror Film by Carlos Clarens


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