![]() This can be seen in practically every aspect of the film from script, to set design, to camera movement, performances, and music. ![]() Hammer’s filmmakers did everything they could to make their Dracula as different as possible. The 1957 debut of Shock Theater, the package of classic horror movies sold to various American television markets, only further cemented the iconic nature of the 1931 film. Horror of Dracula (simply titled Dracula in England) completely redefined the character, and indeed the entire vampire subgenre, for a generation, and its influence would echo through the decades to come.īy 1958, Tod Browning’s Dracula, with Bela Lugosi in the starring role, had become deeply ingrained in popular culture. The following year they outdid themselves by resurrecting the King of Vampires. In 1957, however, they took a gamble and single-handedly resurrected the gothic monster movie with The Curse of Frankenstein, which became an international hit. England’s Hammer Studios was no different, releasing successful films like The Quatermass Xperiment (1955) and X the Unknown (1956), which were firmly rooted in these science fiction-based fears. Modern-set films dealing with nuclear war, radioactive fallout, and the Red Scare filled American theaters with giant bugs and body snatchers. ![]() By the middle of the 1950s, gothic horror was dead. ![]()
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