In 2019, London was host to an immersive zombie exhibition at the Truman Brewery, Brick Lane in East London attached to the television show ‘The Walking Dead’, a new play about Dracula was staged at the London Library and an art installation, sponsored by the Ben Oakley Gallery and called ‘Monster’ by Giles Walker, featuring headless clowns and other freakery, was set to be held in an empty warehouse near Greenwich later in the year if sufficient crowd funds could be raised.
Horror films offer the pleasure of the intended affects among which we can identify a sense of suspense, a sense of mystery, and a sense of horror.
The character of Hannibal Lecter, the cannibal psychiatrist, is well embedded in the pop-culture not only because of the tetralogy by Thomas Harris that introduced the character in the novel ‘Red Dragon’ in 1981 but also thanks to the filmic adaptations, mainly the ones with Anthony Hopkins in the leading role.
Of the particular vampire fiction that has, in the last 1960s, crossed over into film and subsequently redefined the vampire subgenre — that is to say, dismantled its “inherited conventions of the particular filmic kind in order to display [its] formal and ideological complexity, but also in order to put them back together, so to speak, in better working condition than before”, to borrow from Carl Freedman’s (2002: 91) analysis of the works of Stanly Kubrick — none in this category has achieved greater distinction perhaps than Richard Matheson’s 1954 vampire novel ‘I Am Legend’.
As a popular form, its pervasiveness has seen it succeed as a modern series of blockbusters (‘The Mummy’ [1999– 2008], and ‘Hellboy’ [2004–2008] films), independent breakthroughs (‘The Blair Witch Project’ , and ‘The Sixth Sense’ ), films for children and young adults (‘Coraline’ , and ‘Twilight’ ), and innovative international arthouse releases (‘El labertino del fauno’ [‘Pan’s Labyrinth’, 2006], and ‘Låt den rätte komma in’ [‘Let the Right One In’, 2008]).