Reappraising Cult Horror Films: From Carnival of Souls to Last Night in Soho

Half Title
Title Page
Copyright Page
Contents
Figures
Acknowledgements
About the editor and contributors
Introduction: Cult horror films and cult movies
Part I: Lone features
	Chapter 1: Carnival of Souls as seen by its creators
	Chapter 2: A ‘totally emancipated female’: Julie Ege, Britain’s crises of masculinity and Roy Ward Baker’s The Legend of the 7 Golden Vampires
	Chapter 3: Wandering the labyrinth of space-time and eternity in Stanley Kubrick’s The Shining
	Chapter 4: The candy-coloured uncanny: Childish pleasures in Killer Klowns from Outer Space
	Chapter 5: Death is the price: Racial segregation, urban gentrification and the horrors of Candyman
	Chapter 6: Decide for yourself: Cult, controversy and anti-capitalism in The Hunt
Part II: Cult horror directors
	Chapter 7: ‘We are going to do something nasty’: The cult horror films of Harry Kümel
	Chapter 8: (Re)positioning Ken Russell as a cult horror auteur
Part III: Cycles and clusters
	Chapter 9: Deliverance derivations: Counter constructions of white trash in 1970s horror cinema
	Chapter 10: Hybrid horror from Australia
	Chapter 11: ‘I can’t believe so many horror fans aren’t watching Inside’: The cult status of twenty-first-century French horror cinema
	Chapter 12: Vertical violence: Horror cinema’s terrible towers
	Chapter 13: The Investigative Outsider and the use of Nemein as a narrative state change driver in cult horror cinema
Index