Freddie Francis was regarded as one of the great cinematographers of the last half of the 20th century. He won Academy awards for Sons and Lovers and Glory. This is Francis’ memoir in which he recalls working on such films as Room at the Top, Sons and Lovers, Saturday Night and Sunday Morning, The Elephant Man, Glory, Cape Fear, and The Straight Story.

In Conversations with Cinematographers, David A. Ellis has assembled interviews with some of the most influential and highly regarded cameramen of the last half century and more. While their names may not be known by the general public, these men and their work have left indel...

David Pirie's acclaimed history of British gothic film and television has long been regarded as a foundational study of the roots of British horror, identifying it as 'the only staple cinematic myth which Britain can properly claim as its own.' This edition has been revised and updated to include discussion of films and TV dramas that have been newly discovered, restored or released since publication of the previous edition in 2007, as well as addressing newly-emergent screenwriters, directors and genres. Drawing on insider accounts and archival sources, David Pirie investigates the notion of horror versus realism in popular fiction, and analyses the horror boom that developed around films including The Others and 28 Days Later. He chronicles British horror cinema from its origins in Gothic literature traces the rise of Hammer Films, its key directors and films as well as its battles with the censors, explores major horror sub genres including comedy horror and sci-fi, and brings the story up to the present day, where horror is flourishing in new ways, with films such as Shaun of the Dead, Under the Skin and Censor; the rise of genres such as folk horror and films that tackle questions of race and gender, and the emergence of a new generation of writers and directors including Prano Bailey-Bond, Ben Wheatley and Edgar Wright.

From their first pairing in Hamlet (1948) to House of the Long Shadows (1983), British film stars Christopher Lee and Peter Cushing forged perhaps the most successful collaboration in horror film history. In its revised and expanded second edition, this volume examines their 22 movie team-ups, with critical commentary, complete cast and credits, production information, details on cinematography and make-up, exhibition history and box-office figures. A wealth of background about Hammer, Amicus and other production companies is provided, along with more than 100 illustrations. Lee and Cushing describe particulars of their partnership in original interviews. Exclusive interviews with Robert Bloch, Hazel Court and nearly fifty other actors, directors and others who worked on the Lee-Cushing films are included.

In the 1950s, Hammer Film Productions, a small British filmmaking company, introduced the world to a new genre of motion picture. Referred to by some as "horror," by others as "fantasy," Hammer films had a unique look and feel that many other studios would later attempt—and fail—to capture. Hammer films also had a unique sound. For although the studio was small and the budgets limited, those involved in making the Hammer films recognized that the musical score was just as important as the set, the actors, and the script in telling the story. Consequently, Hammer Films Productions recruited the best musical talent to make its films come alive. Those artists and the work they did are chronicled here in careful detail by Randall D. Larson. From the studio's fledging days, through its great successes of the 60s and early 70s, Music from the House of Hammer offers an inside look at how the "Hammer sound" was developed and nurtured.

British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The Ghoul and Dark Eyes of London to acknowledged classics such as Peeping Tom and The Wicker Man. Contributors explore the contexts in which British horror films have been censored and classified, judged by their critics and consumed by their fans. Uncovering neglected modern classics like Deathline, and addressing issues such as the representation of family and women, they consider the Britishness of British horror and examine sub-genres such as the psycho-thriller and witchcraftmovies, the work of the Amicus studio, and key filmmakers including Peter Walker. Chapters include: the 'Psycho Thriller' the British censors and horror cinema femininity and horror film fandom witchcraft and the occult in British horror Horrific films and 1930s British Cinema Peter Walker and Gothic revisionism. Also featuring a comprehensive filmography and interviews with key directors Clive Barker and Doug Bradley, this is one resource film studies students should not be without.

Think you know everything there is to know about Hammer Films, the fabled "Studio that Dripped Blood?" The lowdown on all the imperishable classics of horror, like The Curse of Frankenstein, Horror of Dracula and The Devil Rides Out? What about the company's less blood-curdling back catalog? What about the musicals, comedies and travelogues, the fantasies and historical epics--not to mention the pirate adventures? This lavishly illustrated encyclopedia covers every Hammer film and television production in thorough detail, including budgets, shooting schedules, publicity and more, along with all the actors, supporting players, writers, directors, producers, composers and technicians. Packed with quotes, behind-the-scenes anecdotes, credit lists and production specifics, this all-inclusive reference work is the last word on this cherished cinematic institution.