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Freddy, Jason, Frankenstein, and Dracula are just a few of the thrilling movie monsters in this illustrated, collectible reference guide. Monsters from major as well as minor horror films are brought back to life through domestic and international posters, movie stills, and publicity shots. Engaging commentary from leading horror fiction writers, editors, anthologists, and scholars accompany more than 400 movie posters and publicity stills from the early 20th century through to the present day. Not only will you revisit such iconic movies as The Shining, Child's Play, Halloween, Godzilla, and Jaws, to name just a few, you will also learn about the cultural and technological developments that have played a role in the history of the indelible movie monster. Whether you're a screenwriter, producer, director, actor, or just a fan, this reference guide is an invaluable resource about one of our greatest movie genres.
- Sales Rank: #1590924 in Books
- Brand: Brand: Schiffer Publishing, Ltd.
- Published on: 2012-07-28
- Original language: English
- Number of items: 1
- Dimensions: 11.19" h x .83" w x 8.79" l, 2.89 pounds
- Binding: Hardcover
- 192 pages
- Used Book in Good Condition
Review
"John Edgar Browning's Graphic Horror is a valuable tool for scholars and aficionados of horror films who are looking for an overview of the genre that includes many titles not widely known. . . . The resulting product is a sort of scholarly coffee-table book that invites casual browsing, enabling the reader to understand individual horror films in their historical and social contexts. . . . I found myself updating my Netflix cue and writing down lists of books to get from the library."
--June Pulliam (ed.), Dead Reckonings: A Review of Horror Literature, no. 13 (2013): 102-102
"[Graphic Horror] is an entertaining coffee table book made up of loads of colorful classic horror movie posters, stills from films, and brief tidbits or reactions to each film by well-known. . . . writers, anthologists, scholars, and editors including Mort Castle, Brian Stableford, Katherine Ramsland, Ramsey Campbell, Nancy Kilpatrick, and Tony Timpone."
--Ellen Datlow (ed.), The Best Horror of the Year, Volume Five
"I've always enjoyed horror movie posters . . . and John Edgar Browning's Graphic Horror: Movie Monster Memories uses this unique art form to trace the history of monster movies from the early 20th century to today. . . . present[ing] a fascinating and attractive timeline featuring over 400 posters (including some cool foreign ones) and movie stills spread out over almost 200 pages. . . . Whether you're a horror fan or newcomer to the genre, though, you should be able to find something of value in Graphic Horror."
--Mark H. Harris, Horror & Suspense Guide for About.com
"People pay big money each year to be frightened out of their wits at movies. Horror films have been around since the early part of the last century and are loved by millions. In John Edgar Browning's new book, Graphic Horror: Movie Monster Memories, readers are given a guided tour through the decades via photos of some of the most terrifying movies ever created. . . . [Graphic Horror] make[s] a fascinating journey through the bloody halls of cinematic horror. Do yourself and favor and don't read this book alone at night." --Boyce McClain's Collector's Corner (bamcc-bam.blogspot.com)
About the Author
John Edgar Browning has written several books on movie monsters, including Dracula, vampires, and other undead creatures. He is a Ph.D. student and Arthur A. Schomburg Fellow at the State University of New York at Buffalo.
Most helpful customer reviews
3 of 3 people found the following review helpful.
Horror Flicks Photo-Guide!
By Mike O'Connor
For decades, the horror movie has been a cinematic staple, supplying many of the silver screen's - and popular culture's - most terrifying and memorable characters. John Edgar Browning's GRAPHIC HORROR, MOVIE MONSTER MEMORIES, a 2012 Schiffer Publishing release, is an appealing illustrated guide to the many horror flicks that have chilled, thrilled, appalled and/or grossed out movie audiences worldwide.
Browning tracks the development of the horror film chronologically with chapters on the 1920s, 1930s, 1940s, etc. After a brief summary of the decade, Browning presents hundreds of b&w and color movie posters, lobby posters, movie stills and publicity shots depicting various horror flicks. Some are in English, many are in foreign languages. About 60% of the movies depicted have accompanying commentaries by various horror writers, editors and scholars such as Ramsey Campbell, Donald Glut, F. Paul Wilson, etc. While the comments are interesting, they're often quite brief. I would have liked more verbage.
In any case, MOVIE MONSTER MEMORIES is a visual delight, some 190-odd pages of mostly full-color eye-appealing images of Dracula, Frankenstein's Monster, the Wolfman, King Kong, the Creature from the Black Lagoon, Dr. Phibes, Jason, Freddy, et al. Horror fans will undoubtedly enjoy this colorful, comprehensive tribute. Recommended.
1 of 1 people found the following review helpful.
Well Done!
By Tim Janson
Perhaps more than any other type of genre, horror has a legacy that is handed down through the generations and becomes the inspiration for new horror writers and filmmakers. The legacy of horror is at the core of this fun and fantastic new book from Schiffer Publishing. John Edgar Browning (and boy is that a name that exudes horror) takes readers on a trip down horror’s memory lane from the silent era to the present and collects the memories of leading horror writers, editors, anthologists, and historians who wax poetic about some of their favorite and most influential horror films.
Some of the noted commenters include Ramsey Campbell, David Drake, Don Glut, Marvin Kaye, Kim Paffenroth, David J. Skal, Brian Stableford, Tony Timpone, and F. Paul Wilson, to name just a handful. In all there are nine chapters covering the decades of the 1920s to the 2000’s, along with a foreword by David J. Skaal and an afterword by Chelsea Quinn Yarbro.
Each chapter features still pics or original movie poster of the film in question along with the commenter’s memories of that particular film. These also feature some views of rare overseas versions of posters or lobby cards. But these are not just vaporous comments about how they saw it as a kid, blah, blah, blah, but generally more of a discourse on why the film is so important along with liberal doses of interesting anecdotes such as Leslie Klinger’s comments on the Spanish language version of Dracula from 1931 and why he feels it is vastly superior to the Tod Browning/Bela Lugosi version.
For me the book works not only as a scrapbook of horror movie memories, but also a tome collecting images of hundreds of original film posters. Lastly, Browning features a comprehensive list of suggested reading for horror fans of both fiction and non-fiction books written or edited by his vast roll call of contributors. Whether your tastes run from the Universal horror classics, 1950s giant monsters, the Hammer horror films, or today’s modern slasher films, this is a book you’ll be happy to add to your library.
1 of 1 people found the following review helpful.
An enjoyable collection of posters, memories and reflections on the history of horror from the silent era to the sequel era
By Aussiescribbler
This is a coffee-table book of horror movie posters, covering the history of the genre from the silent days until the time of the book's publication, with short comments on many of the films by prominent writers of horror fiction or horror film criticism. It is organised chronologically and includes posters from a variety of countries. The films themselves are mostly from the U.S. or Britain, but there is a sprinkling of titles from other nations. A few titles were made-for-television.
It's fun to leaf through the book and think about the way the horror film has evolved, with different strands weaving in and out and taking different forms - vampires, ghosts, zombies, possession... Forms would change and key films would send out offshoots. Before 1968, zombies were produced by voodoo, but "Night of the Living Dead" was a dominant mutation which produced a overwhelming proliferation of clones and variations. A basic idea would take a variety of different forms - vampires could be hideously bestial as in "Nosferatu" (1922), sinisterly seductive as in "Dracula" (1931), romantic and sexy as in "Interview with the Vampire" (1994) or comical as in "Dracula: Dead and Loving It" (1995). Some films would chill your marrow with what they left mysterious - "Cat People" (1942) or "The Haunting" (1963) - others would churn your stomach with explicit depictions of cruelty and gore - e.g. "Hostel" (2005). In the forties a sequel meant "Frankenstein Meets the Wolfman" (1943), in the eighties a sequel meant "Friday the Thirteenth, Part VII - The New Blood" (1988). While it is easy to be cynical, each decade has produced its share of films to treasure.
The choice of films covered is certainly open to question. "The Mask of the Red Death" (1964) is the only film included from Roger Corman's Edgar Allan Poe series, and yet all seven Howling movies are presented. And such key films as "Scream" (1996), "The Blair Witch Project" (1999) and "Saw" (2004) are notable by their absence. The latter part of the book does seem to be dominated by sequels and remakes, which is perhaps an accurate depiction of what we were (and are) faced with, but did every film in the "Friday the Thirteenth", "Nightmare on Elm Street" and "Texas Chainsaw Massacre" series need to be represented? The posters are fun to look at though, so I'm not particularly bothered.
The inclusion of posters from European and Asian countries sometimes allows for a fascinating glimpse into artistic styles unique to those regions. This is less true in the latter part of the book as painted posters have become less common.
There is a playful introduction by David J. Skal in which he talks about the experience of being a gay horror movie fan fascinated by the poster artists' obsession with boobs. And an afterword by horror novelist Chelsea Quinn Yarbro in which she examines the advantages and disadvantages of movies compared to prose for conveying horror.
The comments by famous writers which accompany many of the posters provide a great deal to the book's appeal, whether it is Ramsey Campbell rhapsodising about the films of Val Lewton, Mort Castle confessing to having been scared by a late night showing of "Plan Nine from Outer Space" or John Kenneth Muir reflecting on community spirit and the lack thereof as depicted in two different giant ant movies.
I was a bit taken aback when I started to read L. Andrew Cooper's comment attached to a poster of "Exorcist II : The Heretic" (1977) beginning : "I came to this one as an adult, knowing that it routinely makes people's scariest-of-all-times lists..." Huh? Exorcist II : The Heretic? I've heard people call it one of the stupidest horror movies of all time, but never one of the scariest. Then, reading on, I realised that the comment had been put in the wrong place. It was supposed to go with the poster of Dario Argento's "Suspiria" (1977) further down the page.
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