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Contemporary British Horror CinemaIndustry, Genre and Society$
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Johnny Walker

Print publication date: 2015

Print ISBN-13: 9780748689736

Published to Edinburgh Scholarship Online: May 2018

DOI: 10.3366/edinburgh/9780748689736.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 27 May 2020

Let the quiet ones in

Let the quiet ones in

Chapter:
(p.109) 6. Let the quiet ones in
Source:
Contemporary British Horror Cinema
Author(s):

Johnny Walker

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748689736.003.0006

Chapter 6 returns to industry, and charts the re-emergence of Hammer Films, which, after thirty years, finally went back into film production in the 2000s. Drawing from primary sources such as the industry trade press and interviews, the chapter reflects on Hammer’s recent history, considering briefly the tumultuous 1980s and 1990s, before assessing the company’s market positioning between its re-launch in 2007 with the web serial Beyond the Rave (Matthias Hoene, 2008), through its theatrical success with the blockbuster The Woman in Black in 2012, up until the release of its lower-budgeted ghost story, The Quiet Ones (John Pogue) in 2014. Ultimately, taking into account Hammer’s prominence in much discourse around classic British horror, I use its millennial incarnation to assess its relevance (or not) to the identity of British horror in the twenty-first century.

Keywords:   Film, Film Studies, Horror, Horror Genre, British Cinema, British Film Production, European Cinema, Film Industry, Hammer Films

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