Some critics in England and France have long maintained that British director Terence Fisher, whose films dominated world markets in the 1950s and 60s, was one of the greatest directors of fantasy films in history. Since his death in 1980, Fisher's reputation has grown from relative obscurity and his influence on the development of the modern horror film has been widely recognized. However, Fisher's importance should not be limited to the context of the fantasy and horror film genres. His films should also be recognized as expressions of his generalizations about human spirituality. This critical study of Fisher's films begins with an introduction that provides biographical information on his film career, summaries of all of the films he directed and examples of his impact on contemporary cinema. All of Fisher's films are analyzed in terms of their Christian and religious themes as well as their mythical sources. Chapters are devoted to Fisher's work on the subjects of Frankenstein, Dracula, curses (The Devil Rides Out), the ancient goddess (The Gorgon), the divided self (The Man Who Could Cheat Death) and the redeemer hero (The Stranglers of Bombay). The concluding chapter analyzes the role and influence of Biblical narratives in Fisher's films. Also included is a filmography; the work is fully indexed.

Terence Fisher is best known as the director who made the classic Hammer horrors. In a 25 year career, he directed 50 films, from thrillers to comedies. This book gives a sense of his place in British film history.

This book traces the entire career of the British director Terence Fisher, best known for his Gothic horror films for Hammer such as The Curse of Frankenstein (1957) and Dracula (1958). Wheeler Winston Dixon covers not only his horror films, but also his film noirs, comedies, and early work to create a full picture of Fisher's life and work.

Terence Fisher brought the modern Gothic horror film to life in the second half of the twentieth century. As director John Carpenter (Halloween) notes in his introduction, "Terence Fisher and The Curse of Frankenstein was the beginning of it all for the modern horror film..."

James Fisher argues that Catholic culture was transformed when products of the "immigrant church," largely inspired by converts like Dorothy Day, launched a variety of spiritual, communitarian, and literary experiments. He also explores the life and works

From The Curse of Frankenstein to The Horror of Dracula, The Phantom of the Opera to The Mummy, and The Curse of the Werewolf to The Devil Rides Out, Terence Fisher was Hammer's acclaimed Gothic specialist, and is celebrated across the globe for directing many of the greatest horror movies of all time. TERENCE FISHER: Master of Gothic Cinema is the result of five years of research and writing by renowned author Tony Dalton, a long-time friend of Terence Fisher and his family. This fully authorised biography includes an introduction written by Fisher's daughter Micky Harding.

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.