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Contemporary British Horror Cinema
Industry, Genre and Society
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Book Presentation:
A scholarly and critical overview of UK horror film production since the year 2000
Combining industrial research and primary interview material with detailed textual analysis, Contemporary British Horror Cinema looks beyond the dominant paradigms which have explained away British horror in the past, and sheds light on one of the most dynamic and distinctive – yet scarcely talked about – areas of contemporary British film production. Considering high-profile theatrical releases, including The Descent, Shaun of the Dead and The Woman in Black, as well as more obscure films such as The Devil’s Chair, Resurrecting the Street Walker and Cherry Tree Lane, Contemporary British Horror Cinema provides a thorough examination of British horror film production in the twenty-first century.
Key Features
• The first academic monograph exclusively dedicated to recent British horror production
• Draws upon the various international factors at work within the increasingly complex British film industry, and the impact this has on popular genre production
• Locates British horror amid trends in international horror cinema
About the Author:
Johnny Walker is Associate Professor in the Department of Arts at Northumbria University. His authored books include, Contemporary British Horror Cinema: Industry, Genre and Society (2015), as editor, Hammer and Beyond: The British Horror Film (by Peter Hutchings, 2021), and as co-editor, Grindhouse: Cultural Exchange on 42nd Street, and Beyond (2016). His scholarship can be found in numerous journals and anthologies.
Press Reviews:
A pleasingly fact-laden study, which draws together many strands — from commercial to the creative — which affect the contemporary industry (such as it is – in an ever more parlous state). The book is essential reading for any aficionado of the genre.– Barry Forshaw, Crimetime
In taking an approach that considers the various industrial changes and circumstances which surround the contemporary films in question, Walker’s work stands as an excellent British counterpart to recent academic work on contemporary American horror films by Richard Nowell (Blood Money (2011) and Merchants of Menace (2014)), Mark Bernard (Selling the Splat Pack (2015)) and Steve Jones (Torture Porn (2013)). As a result, Walker’s work makes important inroads into the business of making horror films in a contemporary British context, as well as providing detailed and insightful textual analysis of key texts from the past decade or so of film-making.'– Nia Edwards-Behi, Journal of British Cinema and Television
This excellent overview of British horror films from the year 2000 to the present contextualizes them with the international ones. The study shows these films moving away from Hammer’s gothic style (a la The Woman in Black) and putting greater emphasis on contemporary societal concerns (Eden Lake, Attack the Block). Scholarly but readable, informative and incisive – essential!'– Dejan Ognjanovic, Rue Morgue
What ties together the new Hammer films and Hoodie Horror? This wonderful book has the answers. Meticulously researched and bold in asserting connections between film practice and cultural sensitivities, Johnny Walker’s comprehensive overview covers dozens of British horror movies since 2000, many of them worthy of (re-)discovery, that testify to the vibrancy of a volatile industry.'– Ernest Mathijs, University of British Columbia
... anybody interested in the horror film ... and ... British cinema, owes [Walker] a huge debt of gratitude.'– Julian Petley
With this volume, Johnny Walker brings up to date both horror film criticism and writings on British national cinema. Contemporary British Horror Cinema seamlessly weaves together narratives of changing film finance and distribution, aesthetic tropes of twenty-first century international horror cinema, fan culture and reception, and genre films' vital engagement with contemporary social reality. British horror cinema is experiencing a commercial and artistic renaissance, and now there is a critical study worthy of the films themselves.'– Kevin Heffernan, Southern Methodist University
See the publisher website: Edinburgh University Press
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