The Turn to Gruesomeness in American Horror Films, 1931-1936

Is the thirties horror film more akin to graphic modern horror than is often thought? Critics have traditionally characterized classic horror by its use of shadow and suggestion. Yet the graphic nature of early 1930s films only came to light in the home video/DVD era. Along with gangster movies and "sex pictures," horror films drew audiences during the Great Depression with sensational screen content. Exploiting a loophole in the Hays Code, which made no provision for on-screen "gruesomeness," studios produced remarkably explicit films that were recut when the Code was more rigidly enforced from 1934. This led to a modern misperception that classic horror was intended to be safe and reassuring to audiences. Taking a fresh look at the genre from 1931 through 1936, this critical study examines "happy ending" horror in relation to industry practices and censorship. Early works like Murders in the Rue Morgue (1932) and The Raven (1935) may be more akin to The Texas Chain Saw Massacre (2003) and Saw (2004) than many critics believe. 'This may well be the book on 'classic horror' to beat this year"- Tim Lucas, VIDEO WATCHDOG Is the thirties horror film more akin to graphic modern horror than is often thought?Critics have traditionally characterized classic horror by its use of shadow and suggestion. Yet the graphic nature of early 1930s films only came to light in the home video/DVD era. Along with gangster movies and "sex pictures," horror films drew audiences during the Great Depression with sensational screen content. Exploiting a loophole in the Hays Code, which made no provision for on-screen "gruesomeness," studios produced remarkably explicit films that were recut when the Code was more rigidly enforced from 1934. This led to a modern misperception that classic horror was intended to be safe and reassuring to audiences.Taking a fresh look at the genre from 1931 through 1936, this critical study examines "happy ending" horror in relation to industry practices and censorship. Early works like __Murders in the Rue Morgue__ (1932) and __The Raven__ (1935) may be more akin to __The Texas Chain Saw Massacre__ (2003) and __Saw__ (2004) than many critics believe. 'This may well be the book on 'classic horror' to beat this year"- Tim Lucas, VIDEO WATCHDOG Is the thirties horror film more akin to graphic modern horror than is often thought? Critics have traditionally characterized classic horror by its use of shadow and suggestion. Yet the graphic nature of early 1930s films only came to light in the home video/DVD era. Along with gangster movies and "sex pictures," horror films drew audiences during the Great Depression with sensational screen content. Exploiting a loophole in the Hays Code, which made no provision for on-screen "gruesomeness," studios produced remarkably explicit films that were recut when the Code was more rigidly enforced from 1934. This led to a modern misperception that classic horror was intended to be safe and reassuring to audiences. Taking a fresh look at the genre from 1931 through 1936, this critical study examines "happy ending" horror in relation to industry practices and censorship. Early works like Murders in the Rue Morgue (1932) and The Raven (1935) may be more akin to The Texas Chain Saw Massacre (1974) and Hostel (2005) than many critics believe. Critics have traditionally characterized classic horror by its use of shadow and suggestion. Yet the graphic nature of early 1930s films only came to light in the home video/DVD era. Along with gangster movies and'sex pictures,'horror films drew audiences during the Great Depression with sensational content. Exploiting a loophole in the Hays Code, which made no provision for on-screen'gruesomeness,'studios produced remarkably explicit films that were recut when the Code was more rigidly enforced from 1934. This led to a modern misperception that classic horror was intended to be safe and reassuring to audiences. The author examines the 1931 to 1936'happy ending'horror in relation to industry practices and censorship. Early works like Murders in the Rue Morgue (1932) and The Raven (1935) may be more akin to The Texas Chain Saw Massacre (1974) and Hostel (2005) than many critics believe. Critics Have Traditionally Characterized Classic Horror By Its Use Of Shadow And Suggestion. Yet The Graphic Nature Of Early 1930s Films Only Came To Light In The Home Video/dvd Era. Taking A Fresh Look At The Genre From 1931 Through 1936, This Critical Study Examines Happy Ending Horror In Relation To Industry Practices And Censorship-- Introduction: Misery Likes Reality For Company -- 1. Nightmare Pictures: Thirties Horror And The Hollywood Film Industry -- 2. Five Reels Of Transgression Followed By One Reel Of Retribution: Thirties Horror And The Studios -- 3. Brutality, Horror And Gruesomeness: Thirties Horror And The Hays Office -- 4. Why Should Cecil B. De Mille Have A Monopoly On Torture And Cruelty? Thirties Horror And The Filmmaker -- 5. A Secure Universe Thirties Horror And The Critics -- Afterword. Jon Towlson. Includes Bibliographical References (pages 207-226) And Index. "Critics have traditionally characterized classic horror by its use of shadow and suggestion. Yet the graphic nature of early 1930s films only came to light in the home video/DVD era. Taking a fresh look at the genre from 1931 through 1936, this critical study examines "happy ending" horror in relation to industry practices and censorship"-- Provided by publisher