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The monster movies of Universal studios de…
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The monster movies of Universal studios (edició 2017)

de James L. Neibaur

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In 1931, Universal Studios release Dracula starring Bela Legosi. It was a box-office success, and the first in a series of films featuring macabre characters and chilling atmospherics. Neibaur reviews the key horror films that Universal produced into the mid-1950s, provided production information, critical commentary, and an overall assessment of the movie's significance. He also examines their impact on popular culture, into the cinemas of today.… (més)
Membre:ronrebel
Títol:The monster movies of Universal studios
Autors:James L. Neibaur
Informació:Lanham : Rowman & Littlefield, [2017]
Col·leccions:La teva biblioteca
Valoració:
Etiquetes:Universal Monsters, non-fiction, films, horror, supernatural, Dracula, Frankenstein, Wolfman, Mummy, Invisible Man, Creature of the Black Lagoon, Bud Abbott, Lou Costello

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The Monster Movies of Universal Studios de James L. Neibaur

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With the inclusion of first-hand accounts as well as contemporary reviews and press statements, Neibaur shows his love and vast knowledge of the material, enough to satisfy horror movie fans. But unfortunately his writing suffers from poor, distracting editing. ( )
  Birdo82 | Oct 17, 2017 |
The title of this project is suspect as it appears to be a blatant advertisement for Universal Studios, one of the largest film producers internationally (or rather it is a subsidiary of one of the giants). The chapter organization reinforces this idea as they are all named after individual “monster” or “horror” movies Universal released including Dracula, The Bride of Frankenstein, and several other early films from the 1930s and 40s that have not remained at the top of mainstream conversations. The “Prologue” advertises the contents as representing “iconic figures in popular culture” that “continue to be identified”. It is no accident that Dracula and Frankenstein appear frequently in recent creations of popular culture from affiliates of this company, including as references in TV series and even in feature films. Such product-placements help to generate sales for these “classics” decades after their releases as fans of Old Hollywood are reminded of their nostalgia for a pristine past. To avoid being labeled as a similar product-placement, this book really should be presenting the good and the bad about these films, but as is too common in popular culture monographs it is more of a fan-scholarship piece. Occasionally, these books are even funded by the film industry, or are written by those affiliated with it. Neibaur has authored a dozen films on related subjects with Rowman, so he is making a living on writing in this field, but he is not disclosing any clear affiliations with the industry in his biography. Each of the chapters begins like a review with the name of the director, the cast members, and the run time listed in boxes. Then, these chapters offer brief histories of the making of these films, quotes from their screenplays, and some anecdotes from their making. There are too few citations or references for the type of information presented. For example, there are no references in a paragraph that begins thus: “When first given the script, Lou Costello thought it was a terrible idea and told the producers that his youngest child could write a better screenplay…” (152). How did Neibaur learn what Costello was thinking; it does not say that this is what he said, but rather what he thought. So, what source could there have been other than Costello’s diary to express this kind of derogatory pondering, but obviously if this came out of a diary, a scholar would have put the precise way that Costello put it. Thus, it appears that this book offers too much unsubstantiated materials, or information that cannot be trusted by students or scholars working on this subject. The only way these stories are reliable without detailed citations is if they were written by Costello and the other directors and other creatives described in such passages, and if this is the case, they really had to disclose their contribution to such fan-scholarship. Neibaur needs to edit all such passages to clarify the sources, and until then, this is not a suitable source for readers, even if only fans of the genre, because they don’t need more ads in their lives.
 
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In 1931, Universal Studios release Dracula starring Bela Legosi. It was a box-office success, and the first in a series of films featuring macabre characters and chilling atmospherics. Neibaur reviews the key horror films that Universal produced into the mid-1950s, provided production information, critical commentary, and an overall assessment of the movie's significance. He also examines their impact on popular culture, into the cinemas of today.

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