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By B. Forshaw

Barry Forshaw celebrates with enthusiasm the British horror movie and its fascination for macabre cinema. A definitive examine of the style, British Gothic Cinema discusses the flowering of the sphere, with each key movie mentioned from its beginnings within the Nineteen Forties via to the twenty first century.

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Lawrence, but nevertheless maintained his defence as a point of principle). But the judge in the later case regarded a discussion of the technical expertise or creativity involved in a horror film as simply beside the point – whether it was well made or badly made was, quite simply, immaterial; the genre itself was, quite simply, beyond the pale. The suggestion that horror films routinely put audiences in the position of (and thereby in sympathy with) the monster or killer also does not stand up to much scrutiny.

Recent restored Blu-ray editions of the film present an interesting question: how would a modern audience, used to regularly timed injections of pulse-raising horror, respond to these rather sedately paced opening scenes? Have contemporary viewers lost the art of patience or waiting for deferred pleasure? A similar question might be posed concerning Alfred Hitchcock’s The Birds, which takes a considerable time before delivering the principal reason why the audience is in the cinema: the avian attacks.

Lawrence talked about the necessity of maintaining a sense of the reality of pain, something that the better horror films incorporate along with the honest imperative of (as Dickens’ fat boy enjoyed) making our flesh creep. M. H. Lawrence, but nevertheless maintained his defence as a point of principle). But the judge in the later case regarded a discussion of the technical expertise or creativity involved in a horror film as simply beside the point – whether it was well made or badly made was, quite simply, immaterial; the genre itself was, quite simply, beyond the pale.

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