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Shock! TheaterFor the decades between 1930 and 1950, the undisputed masters of horror were Universal Pictures. From their early success with Dracula and Frankenstein to the later additions, such as the Creature from the Black Lagoon, Universal has created and popularized more memorable creature flicks than any other studio. By the time the 1950s had come around, filmgoers' tastes had changed from the supernatural monsters that Universal excelled at to more scientific terrors- atomic horrors, mutant animals, and other, more psychological fears. Not only that, but now films in the theater had new competition-- Television.In 1957, Universal sold a package of 52 mostly-horror films to TV stations around the USA. This package contained many of their greatest horror classics, along with some less-popular films that could round out the package. These films directly led to the invention of TV "Horror Hosts," who were used to introduce and pad out the shorter films. The film package was so successful that a few years later, "Son of Shock!" was released with twenty more films. This first book includes viewing synopses of ALL fifty-two original Shock! films, including the few non-horror films and even a few gems that are rarely seen today. Each film has some trivia and commentary. By examining each film in chronological release order, we can quickly see how tastes, values, budgets, and even special effects grew through the two decades these films were produced.
Shock! TheaterFor the decades between 1930 and 1950, the undisputed masters of horror were Universal Pictures. From their early success with Dracula and Frankenstein to the later additions, such as the Creature from the Black Lagoon, Universal has created and popularized more memorable creature flicks than any other studio. By the time the 1950s had come around, filmgoers' tastes had changed from the supernatural monsters that Universal excelled at to more scientific terrors- atomic horrors, mutant animals, and other, more psychological fears. Not only that, but now films in the theater had new competition-- Television.In 1957, Universal sold a package of 52 mostly-horror films to TV stations around the USA. This package contained many of their greatest horror classics, along with some less-popular films that could round out the package. These films directly led to the invention of TV "Horror Hosts," who were used to introduce and pad out the shorter films. The film package was so successful that a few years later, "Son of Shock!" was released with twenty more films. This first book includes viewing synopses of ALL fifty-two original Shock! films, including the few non-horror films and even a few gems that are rarely seen today. Each film has some trivia and commentary. By examining each film in chronological release order, we can quickly see how tastes, values, budgets, and even special effects grew through the two decades these films were produced.
From December 1957 through October 1959, Chicago TV viewers were held in thrall by "Marvin," the ghoulishly hilarious host of WBKB-TV's late-night horror film series Shock Theatre. Marvin and his lady friend "Dear" (her face ever hidden from the camera) introduced thousands of Chicagoland youngsters to such classic Universal chillers as Frankenstein, Dracula and The Wolf Man. This history of Shock Theatre focuses on the series and its creator, Marvin himself--in real life, the multi-talented Terry Bennett, whose wife Joy played "Dear." Terry's son Kerry Bennett provides an affectionate foreword, while celebrated horror host Count Gore De Vol (Dick Dyszel) supplies the afterword. Included are dozens of photos and vintage advertisement reproductions, as well as two appendices featuring a resume of Terry Bennett's career and a list of films telecast during his two-year Shock Theatre run.
While Universal's Dracula and Frankenstein (both 1931) have received the most coverage of any of the studio's genre releases, it is the lesser known films that have long fascinated fans and historians alike. Starting with The Last Warning, a 1929 movie released as both a silent and a talkie, Universal provided a decade of films that entertained audiences and sometimes frustrated critics. Each of Universal's horror, science fiction and "twisted mystery" films receives an in-depth essay for each film. The focus is first on the background to the making of the movie and its place in the Universal catalog. A detailed plot synopsis with critical commentary follows. Filmographic data for the film conclude the entry. Universal's The Shadow short film series is covered in an appendix. Many rare illustrations and movie posters are also included.
Son of Shock!For the decades between 1930 and 1950, the undisputed masters of horror were Universal Pictures. From their early success with Dracula and Frankenstein to the later additions, such as the Creature from the Black Lagoon, Universal has created and popularized more memorable creature flicks than any other studio. By the time the 1950s had come around, filmgoers' tastes had changed from the supernatural monsters that Universal excelled at to more scientific terrors- atomic horrors, mutant animals, and other, more psychological fears. Not only that, but now films in the theater had new competition-- Television.In 1957, Universal sold a package of 52 mostly-horror films to TV stations around the USA. This package contained many of their greatest horror classics, along with some less-popular films that could round out the package. These films directly led to the invention of TV "Horror Hosts," who were used to introduce and pad out the shorter films. The film package was so successful that a few years later, "Son of Shock!" was released with twenty more films. This second book includes viewing synopses of ALL twenty Son of Shock! films, including the few non-horror films and even a few gems that are rarely seen today. Each film has some trivia and commentary. By examining each film in chronological release order, we can quickly see how tastes, values, budgets, and even special effects grew through the two decades these films were produced. In addition, there are twenty-seven EXTRA Universal films covered that were not included in either package but are otherwise considered essential viewing or historically significant.
The book covers unusual and often surprising areas of horror film history: (1) The harrowingly tragic life of Dracula's leading lady, Helen Chandler, as intimately remembered by her sister-in-law. (2) John Barrymore's 1931 horror vehicles Svengali and The Mad Genius, and their rejection by the public. (3) The disastrous shooting of 1933's Murders in the Zoo, perhaps the most racy of all Pre-Code horror films. (4) A candid interview with the son of legendary horror star Lionel Atwill. (5) The censorship battles of One More River, as waged by Frankenstein director James Whale. (6) The adventures (and misadventures) of Boris Karloff as a star at Warner Bros. (7) The stage and screen versions of the horror/comedy Arsenic and Old Lace. (8) Production diaries of the horror noirs Cat People and The Curse of the Cat People. (9) Frankenstein Meets the Wolf Man revisited. (10) Horror propaganda: The production of Hitler's Madman. (11) Horror star John Carradine and the rise and fall of his Shakespearean Repertory Company. (12) The Shock! Theatre television phenomenon. And (13) A Tribute to Carl Laemmle, Jr., producer of the original Universal horror classics, including an interview with his lady friend of almost 40 years.
Vampires are ubiquitous in our popular culture--from movies to television, in fiction and art, and even within the hallowed halls of academia. But in the not-so-distant past, these undead creatures held more fear than fascination; they lived in the shadows and were the stuff of nightmares. In 1897, Bram Stoker introduced Dracula to the Western world--and our concept of vampires was changed forever. For over sixty years, the undead have bled the television airwaves, appearing in every type of programming imaginable. Un-Dead TV catalogues over one thousand unique vampire appearances—and is the first book of its kind to explore this phenomenon to the extent that it truly deserves.
A full-color officially authorized retrospective book celebrating the classic monster films that have haunted audiences for decades!
BOOKER PRIZE WINNER • NATIONAL BESTSELLER • A novel that follows a middle-aged man as he contends with a past he never much thought about—until his closest childhood friends return with a vengeance: one of them from the grave, another maddeningly present. A novel so compelling that it begs to be read in a single setting, The Sense of an Ending has the psychological and emotional depth and sophistication of Henry James at his best, and is a stunning achievement in Julian Barnes's oeuvre. Tony Webster thought he left his past behind as he built a life for himself, and his career has provided him with a secure retirement and an amicable relationship with his ex-wife and daughter, who now has a family of her own. But when he is presented with a mysterious legacy, he is forced to revise his estimation of his own nature and place in the world.
A compassionate, shame-free guide for your darkest days “A one-of-a-kind book . . . to read for yourself or give to a struggling friend or loved one without the fear that depression and suicidal thoughts will be minimized, medicalized or over-spiritualized.”—Kay Warren, cofounder of Saddleback Church What happens when loving Jesus doesn’t cure you of depression, anxiety, or suicidal thoughts? You might be crushed by shame over your mental illness, only to be told by well-meaning Christians to “choose joy” and “pray more.” So you beg God to take away the pain, but nothing eases the ache inside. As darkness lingers and color drains from your world, you’re left wondering if God has abandoned you. You just want a way out. But there’s hope. In I Love Jesus, But I Want to Die, Sarah J. Robinson offers a healthy, practical, and shame-free guide for Christians struggling with mental illness. With unflinching honesty, Sarah shares her story of battling depression and fighting to stay alive despite toxic theology that made her afraid to seek help outside the church. Pairing her own story with scriptural insights, mental health research, and simple practices, Sarah helps you reconnect with the God who is present in our deepest anguish and discover that you are worth everything it takes to get better. Beautifully written and full of hard-won wisdom, I Love Jesus, But I Want to Die offers a path toward a rich, hope-filled life in Christ, even when healing doesn’t look like what you expect.