Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953-1968
The Creature from the Black Lagoon, the Tingler, the Mole People-they stalked and oozed into audiences' minds during the era that followed Boris Karloff's Frankenstein and preceded terrors like Freddy Krueger (A Nightmare on Elm Street) and Chucky (Child's Play). Ghouls, Gimmicks, and...
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | Englisch |
| Veröffentlicht: |
Durham
Duke University Press
[2004]
|
| Schlagwörter: | |
| Links: | https://doi.org/10.1515/9780822385554 https://doi.org/10.1515/9780822385554 https://doi.org/10.1515/9780822385554 https://doi.org/10.1515/9780822385554 https://doi.org/10.1515/9780822385554 https://doi.org/10.1515/9780822385554 https://doi.org/10.1515/9780822385554 https://doi.org/10.1515/9780822385554 |
| Zusammenfassung: | The Creature from the Black Lagoon, the Tingler, the Mole People-they stalked and oozed into audiences' minds during the era that followed Boris Karloff's Frankenstein and preceded terrors like Freddy Krueger (A Nightmare on Elm Street) and Chucky (Child's Play). Ghouls, Gimmicks, and Gold pulls off the masks and wipes away the slime to reveal how the monsters that frightened audiences in the 1950s and 1960s-and the movies they crawled and staggered through-reflected fundamental changes in the film industry. Providing the first economic history of the horror film, Kevin Heffernan shows how the production, distribution, and exhibition of horror movies changed as the studio era gave way to the conglomeration of New Hollywood.Heffernan argues that major cultural and economic shifts in the production and reception of horror films began at the time of the 3-d film cycle of 1953-54 and ended with the 1968 adoption of the Motion Picture Association of America's ratings system and the subsequent development of the adult horror movie-epitomized by Rosemary's Baby. He describes how this period presented a number of daunting challenges for movie exhibitors: the high costs of technological upgrade, competition with television, declining movie attendance, and a diminishing number of annual releases from the major movie studios. He explains that the production and distribution branches of the movie industry responded to these trends by cultivating a youth audience, co-producing features with the film industries of Europe and Asia, selling films to television, and intensifying representations of sex and violence. Shining through Ghouls, Gimmicks, and Gold is the delight of the true horror movie buff, the fan thrilled to find The Brain that Wouldn't Die on television at 3 am |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) |
| Umfang: | 1 online resource (332 pages) 61 b&w photos |
| ISBN: | 9780822385554 |
| DOI: | 10.1515/9780822385554 |
Internformat
MARC
| LEADER | 00000nam a2200000zc 4500 | ||
|---|---|---|---|
| 001 | BV047113903 | ||
| 003 | DE-604 | ||
| 007 | cr|uuu---uuuuu | ||
| 008 | 210129s2004 xx o||| o|||| 00||| eng d | ||
| 020 | |a 9780822385554 |9 978-0-8223-8555-4 | ||
| 024 | 7 | |a 10.1515/9780822385554 |2 doi | |
| 035 | |a (ZDB-23-DGG)9780822385554 | ||
| 035 | |a (OCoLC)1235892623 | ||
| 035 | |a (DE-599)BVBBV047113903 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-1043 |a DE-1046 |a DE-858 |a DE-859 |a DE-860 |a DE-473 |a DE-739 | ||
| 082 | 0 | |a 791.43/6164 | |
| 100 | 1 | |a Heffernan, Kevin |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Ghouls, Gimmicks, and Gold |b Horror Films and the American Movie Business, 1953-1968 |c Kevin Heffernan |
| 264 | 1 | |a Durham |b Duke University Press |c [2004] | |
| 264 | 4 | |c © 2004 | |
| 300 | |a 1 online resource (332 pages) |b 61 b&w photos | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b c |2 rdamedia | ||
| 338 | |b cr |2 rdacarrier | ||
| 500 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) | ||
| 520 | |a The Creature from the Black Lagoon, the Tingler, the Mole People-they stalked and oozed into audiences' minds during the era that followed Boris Karloff's Frankenstein and preceded terrors like Freddy Krueger (A Nightmare on Elm Street) and Chucky (Child's Play). Ghouls, Gimmicks, and Gold pulls off the masks and wipes away the slime to reveal how the monsters that frightened audiences in the 1950s and 1960s-and the movies they crawled and staggered through-reflected fundamental changes in the film industry. Providing the first economic history of the horror film, Kevin Heffernan shows how the production, distribution, and exhibition of horror movies changed as the studio era gave way to the conglomeration of New Hollywood.Heffernan argues that major cultural and economic shifts in the production and reception of horror films began at the time of the 3-d film cycle of 1953-54 and ended with the 1968 adoption of the Motion Picture Association of America's ratings system and the subsequent development of the adult horror movie-epitomized by Rosemary's Baby. He describes how this period presented a number of daunting challenges for movie exhibitors: the high costs of technological upgrade, competition with television, declining movie attendance, and a diminishing number of annual releases from the major movie studios. He explains that the production and distribution branches of the movie industry responded to these trends by cultivating a youth audience, co-producing features with the film industries of Europe and Asia, selling films to television, and intensifying representations of sex and violence. Shining through Ghouls, Gimmicks, and Gold is the delight of the true horror movie buff, the fan thrilled to find The Brain that Wouldn't Die on television at 3 am | ||
| 546 | |a In English | ||
| 650 | 7 | |a PERFORMING ARTS / Business Aspects |2 bisacsh | |
| 650 | 4 | |a Horror films |z United States |x History and criticism | |
| 856 | 4 | 0 | |u https://doi.org/10.1515/9780822385554 |x Verlag |z URL des Erstveröffentlichers |3 Volltext |
| 912 | |a ZDB-23-DGG | ||
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-032520333 | |
| 966 | e | |u https://doi.org/10.1515/9780822385554 |l DE-1043 |p ZDB-23-DGG |q FAB_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385554 |l DE-1046 |p ZDB-23-DGG |q FAW_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385554 |l DE-858 |p ZDB-23-DGG |q FCO_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385554 |l DE-859 |p ZDB-23-DGG |q FKE_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385554 |l DE-860 |p ZDB-23-DGG |q FLA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385554 |l DE-739 |p ZDB-23-DGG |q UPA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822385554 |l DE-473 |p ZDB-23-DGG |q UBG_PDA_DGG |x Verlag |3 Volltext | |
Datensatz im Suchindex
| _version_ | 1824423453009117184 |
|---|---|
| adam_text | |
| any_adam_object | |
| author | Heffernan, Kevin |
| author_facet | Heffernan, Kevin |
| author_role | aut |
| author_sort | Heffernan, Kevin |
| author_variant | k h kh |
| building | Verbundindex |
| bvnumber | BV047113903 |
| collection | ZDB-23-DGG |
| ctrlnum | (ZDB-23-DGG)9780822385554 (OCoLC)1235892623 (DE-599)BVBBV047113903 |
| dewey-full | 791.43/6164 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.43/6164 |
| dewey-search | 791.43/6164 |
| dewey-sort | 3791.43 46164 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| doi_str_mv | 10.1515/9780822385554 |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>00000nam a2200000zc 4500</leader><controlfield tag="001">BV047113903</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="007">cr|uuu---uuuuu</controlfield><controlfield tag="008">210129s2004 xx o||| o|||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780822385554</subfield><subfield code="9">978-0-8223-8555-4</subfield></datafield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.1515/9780822385554</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(ZDB-23-DGG)9780822385554</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1235892623</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV047113903</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-1043</subfield><subfield code="a">DE-1046</subfield><subfield code="a">DE-858</subfield><subfield code="a">DE-859</subfield><subfield code="a">DE-860</subfield><subfield code="a">DE-473</subfield><subfield code="a">DE-739</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">791.43/6164</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Heffernan, Kevin</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Ghouls, Gimmicks, and Gold</subfield><subfield code="b">Horror Films and the American Movie Business, 1953-1968</subfield><subfield code="c">Kevin Heffernan</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Durham</subfield><subfield code="b">Duke University Press</subfield><subfield code="c">[2004]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">© 2004</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (332 pages)</subfield><subfield code="b">61 b&w photos</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020)</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">The Creature from the Black Lagoon, the Tingler, the Mole People-they stalked and oozed into audiences' minds during the era that followed Boris Karloff's Frankenstein and preceded terrors like Freddy Krueger (A Nightmare on Elm Street) and Chucky (Child's Play). Ghouls, Gimmicks, and Gold pulls off the masks and wipes away the slime to reveal how the monsters that frightened audiences in the 1950s and 1960s-and the movies they crawled and staggered through-reflected fundamental changes in the film industry. Providing the first economic history of the horror film, Kevin Heffernan shows how the production, distribution, and exhibition of horror movies changed as the studio era gave way to the conglomeration of New Hollywood.Heffernan argues that major cultural and economic shifts in the production and reception of horror films began at the time of the 3-d film cycle of 1953-54 and ended with the 1968 adoption of the Motion Picture Association of America's ratings system and the subsequent development of the adult horror movie-epitomized by Rosemary's Baby. He describes how this period presented a number of daunting challenges for movie exhibitors: the high costs of technological upgrade, competition with television, declining movie attendance, and a diminishing number of annual releases from the major movie studios. He explains that the production and distribution branches of the movie industry responded to these trends by cultivating a youth audience, co-producing features with the film industries of Europe and Asia, selling films to television, and intensifying representations of sex and violence. Shining through Ghouls, Gimmicks, and Gold is the delight of the true horror movie buff, the fan thrilled to find The Brain that Wouldn't Die on television at 3 am</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">In English</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">PERFORMING ARTS / Business Aspects</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Horror films</subfield><subfield code="z">United States</subfield><subfield code="x">History and criticism</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.1515/9780822385554</subfield><subfield code="x">Verlag</subfield><subfield code="z">URL des Erstveröffentlichers</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-23-DGG</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-032520333</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385554</subfield><subfield code="l">DE-1043</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAB_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385554</subfield><subfield code="l">DE-1046</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAW_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385554</subfield><subfield code="l">DE-858</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FCO_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385554</subfield><subfield code="l">DE-859</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FKE_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385554</subfield><subfield code="l">DE-860</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FLA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385554</subfield><subfield code="l">DE-739</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UPA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822385554</subfield><subfield code="l">DE-473</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UBG_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
| id | DE-604.BV047113903 |
| illustrated | Illustrated |
| indexdate | 2025-02-18T19:09:49Z |
| institution | BVB |
| isbn | 9780822385554 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032520333 |
| oclc_num | 1235892623 |
| open_access_boolean | |
| owner | DE-1043 DE-1046 DE-858 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 |
| owner_facet | DE-1043 DE-1046 DE-858 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 |
| physical | 1 online resource (332 pages) 61 b&w photos |
| psigel | ZDB-23-DGG ZDB-23-DGG FAB_PDA_DGG ZDB-23-DGG FAW_PDA_DGG ZDB-23-DGG FCO_PDA_DGG ZDB-23-DGG FKE_PDA_DGG ZDB-23-DGG FLA_PDA_DGG ZDB-23-DGG UPA_PDA_DGG ZDB-23-DGG UBG_PDA_DGG |
| publishDate | 2004 |
| publishDateSearch | 2004 |
| publishDateSort | 2004 |
| publisher | Duke University Press |
| record_format | marc |
| spelling | Heffernan, Kevin Verfasser aut Ghouls, Gimmicks, and Gold Horror Films and the American Movie Business, 1953-1968 Kevin Heffernan Durham Duke University Press [2004] © 2004 1 online resource (332 pages) 61 b&w photos txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) The Creature from the Black Lagoon, the Tingler, the Mole People-they stalked and oozed into audiences' minds during the era that followed Boris Karloff's Frankenstein and preceded terrors like Freddy Krueger (A Nightmare on Elm Street) and Chucky (Child's Play). Ghouls, Gimmicks, and Gold pulls off the masks and wipes away the slime to reveal how the monsters that frightened audiences in the 1950s and 1960s-and the movies they crawled and staggered through-reflected fundamental changes in the film industry. Providing the first economic history of the horror film, Kevin Heffernan shows how the production, distribution, and exhibition of horror movies changed as the studio era gave way to the conglomeration of New Hollywood.Heffernan argues that major cultural and economic shifts in the production and reception of horror films began at the time of the 3-d film cycle of 1953-54 and ended with the 1968 adoption of the Motion Picture Association of America's ratings system and the subsequent development of the adult horror movie-epitomized by Rosemary's Baby. He describes how this period presented a number of daunting challenges for movie exhibitors: the high costs of technological upgrade, competition with television, declining movie attendance, and a diminishing number of annual releases from the major movie studios. He explains that the production and distribution branches of the movie industry responded to these trends by cultivating a youth audience, co-producing features with the film industries of Europe and Asia, selling films to television, and intensifying representations of sex and violence. Shining through Ghouls, Gimmicks, and Gold is the delight of the true horror movie buff, the fan thrilled to find The Brain that Wouldn't Die on television at 3 am In English PERFORMING ARTS / Business Aspects bisacsh Horror films United States History and criticism https://doi.org/10.1515/9780822385554 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Heffernan, Kevin Ghouls, Gimmicks, and Gold Horror Films and the American Movie Business, 1953-1968 PERFORMING ARTS / Business Aspects bisacsh Horror films United States History and criticism |
| title | Ghouls, Gimmicks, and Gold Horror Films and the American Movie Business, 1953-1968 |
| title_auth | Ghouls, Gimmicks, and Gold Horror Films and the American Movie Business, 1953-1968 |
| title_exact_search | Ghouls, Gimmicks, and Gold Horror Films and the American Movie Business, 1953-1968 |
| title_full | Ghouls, Gimmicks, and Gold Horror Films and the American Movie Business, 1953-1968 Kevin Heffernan |
| title_fullStr | Ghouls, Gimmicks, and Gold Horror Films and the American Movie Business, 1953-1968 Kevin Heffernan |
| title_full_unstemmed | Ghouls, Gimmicks, and Gold Horror Films and the American Movie Business, 1953-1968 Kevin Heffernan |
| title_short | Ghouls, Gimmicks, and Gold |
| title_sort | ghouls gimmicks and gold horror films and the american movie business 1953 1968 |
| title_sub | Horror Films and the American Movie Business, 1953-1968 |
| topic | PERFORMING ARTS / Business Aspects bisacsh Horror films United States History and criticism |
| topic_facet | PERFORMING ARTS / Business Aspects Horror films United States History and criticism |
| url | https://doi.org/10.1515/9780822385554 |
| work_keys_str_mv | AT heffernankevin ghoulsgimmicksandgoldhorrorfilmsandtheamericanmoviebusiness19531968 |