Mélanie Boissonneau received her Ph.D. in film studies. She is the author of Pin-up au temps du Pré-Code : 1930-1934 (2019) and co-editor of Tim Burton, horreurs enfantines (2016) and Cinéphilies/sériphilies 2.0, Les nouvelles forms d’attachement aux images (Peter Lang, 2019).Gilles Menegaldo is Emeritus professor of literature and film (University of Poitiers). He is the author of Dracula, la Noirceur et la grâce (with A-M Paquet-Deyris), 130 articles on literature and cinema, and 35 edited collections of essays. His recent publications include Tim Burton, a Cinema of Transformations (2018) and Spectres of Poe with J. Dupont (2020).Anne-Marie Paquet-Deyris is Professor of Film and TV Series Studies and (African) American Literature at University Paris Nanterre. She wrote over 80 articles and 21 books, among the latest, 3 co-edited collections of essays, Vérités et mensonges dans le cinéma hollywoodien (Truths and Lies in Hollywood Film) with D. Sipière (2021), Histoire, légende, imaginaire : Nouvelles études sur le Western (2018) on the history of the American West in the western film genre, and Combining Aesthetic and Psychological Approaches to TV Series Addiction (2018).

• List of Illustrations – Notes on Contributors – Antonio Sanna: Preface: The Need for Hammer Films – Mélanie Boissonneau, Gilles Menegaldo, Anne-Marie Paquet-Deyris: Introduction: Dark Recesses in the House of Hammer – Isabelle Labrouillère: Intermediality as a Way to Debunk Tradition: New Perspectives on Terence Fisher’s The Curse of Frankenstein (1957) – Dorota Babilas: The Phantom of the Opera Goes Victorian – Hélène Valmary: Acting Hammer Style: About Peter Cushing and Christopher Lee – Jean-François Baillon: Hammer Motel: Twisted Nerves and Twisted Plots in the Post-Psycho British Psycho-Thriller – Gaïd Girard: Hammer Science-Fiction Horror and the Decline of the British Male Hero: The Quatermass Trilogy – David Roche: The Political Complications of Revamping the Horror Canon: The Vampire Lovers (Baker, 1970), Dr. Jekyll & Sister Hyde (Baker, 1971), Dracula A.D. 1972 (Gibson, 1972) and The Satanic Rites of Dracula (Gibson, 1973) – Jean-Pierre Naugrette: Why Does Sherlock Holmes Capture the Black Rook of Dr. Mortimer in Terence Fisher’s The Hound of the Baskervilles (1959)? – Cécile Carayol: The Vampire Figure: Recurring Principles in Hammer’s Symphonic Film Music until Twilight: New Moon – Jean-Michel Durafour: Terence Fisher with a Lake Scenery – Raphaëlle Costa De Beauregard: Jack Asher (1916–1991) and the Creation of an Original ‘Eastman Color’ Hammer: Between Hollywood Color Tropes and Aesthetic Innovation – Robynn J. Stilwell: The Sonic Realm in The Quatermass Experiment: Medium and Genre and Sound – Philippe Met: Hammer’s Children, Between Visuality and Aurality – Christian Chelebourg: Beauty is the Beast: Horror According to John Gilling – Rehan Hyder: Unmasking the Other: Danger and Difference in Hammer’s Colonial Horrors – Vicky Walden: Postcolonial Anxieties in Hammer’s Dracula and The Curse of Frankenstein – Jean-Marie Lecomte: Epistemology and Power Politics in The Abominable Snowmen (1957) and Lesser-Known Hammer Gothics – Ian Conrich: Hammer Hybrids, Genre Mutation and 1970s Horror Cinema – Matt Jones: Reigniting the Blaze: Hammer’s Unmade Remake of The Day the Earth Caught Fire – Marisa C. Hayes – Mapping Cult Topographies and Transgressive Space: Hammer’s Legacy in The Rocky Horror Picture Show – Sophie Mantrant: A New Old Hammer? The Woman in Black (James Watkins, 2012) – General Bibliography – Index.

Mélanie Boissonneau received her Ph.D. in film studies. She is the author of Pin-up au temps du Pré-Code : 1930-1934 (2019) and co-editor of Tim Burton, horreurs enfantines (2016) and Cinéphilies/sériphilies 2.0, Les nouvelles forms d’attachement aux images (Peter Lang, 2019).Gilles Menegaldo is Emeritus professor of literature and film (University of Poitiers). He is the author of Dracula, la Noirceur et la grâce (with A-M Paquet-Deyris), 130 articles on literature and cinema, and 35 edited collections of essays. His recent publications include Tim Burton, a Cinema of Transformations (2018) and Spectres of Poe with J. Dupont (2020).Anne-Marie Paquet-Deyris is Professor of Film and TV Series Studies and (African) American Literature at University Paris Nanterre. She wrote over 80 articles and 21 books, among the latest, 3 co-edited collections of essays, Vérités et mensonges dans le cinéma hollywoodien (Truths and Lies in Hollywood Film) with D. Sipière (2021), Histoire, légende, imaginaire : Nouvelles études sur le Western (2018) on the history of the American West in the western film genre, and Combining Aesthetic and Psychological Approaches to TV Series Addiction (2018).

• List of Illustrations – Notes on Contributors – Antonio Sanna: Preface: The Need for Hammer Films – Mélanie Boissonneau, Gilles Menegaldo, Anne-Marie Paquet-Deyris: Introduction: Dark Recesses in the House of Hammer – Isabelle Labrouillère: Intermediality as a Way to Debunk Tradition: New Perspectives on Terence Fisher’s The Curse of Frankenstein (1957) – Dorota Babilas: The Phantom of the Opera Goes Victorian – Hélène Valmary: Acting Hammer Style: About Peter Cushing and Christopher Lee – Jean-François Baillon: Hammer Motel: Twisted Nerves and Twisted Plots in the Post-Psycho British Psycho-Thriller – Gaïd Girard: Hammer Science-Fiction Horror and the Decline of the British Male Hero: The Quatermass Trilogy – David Roche: The Political Complications of Revamping the Horror Canon: The Vampire Lovers (Baker, 1970), Dr. Jekyll & Sister Hyde (Baker, 1971), Dracula A.D. 1972 (Gibson, 1972) and The Satanic Rites of Dracula (Gibson, 1973) – Jean-Pierre Naugrette: Why Does Sherlock Holmes Capture the Black Rook of Dr. Mortimer in Terence Fisher’s The Hound of the Baskervilles (1959)? – Cécile Carayol: The Vampire Figure: Recurring Principles in Hammer’s Symphonic Film Music until Twilight: New Moon – Jean-Michel Durafour: Terence Fisher with a Lake Scenery – Raphaëlle Costa De Beauregard: Jack Asher (1916–1991) and the Creation of an Original ‘Eastman Color’ Hammer: Between Hollywood Color Tropes and Aesthetic Innovation – Robynn J. Stilwell: The Sonic Realm in The Quatermass Experiment: Medium and Genre and Sound – Philippe Met: Hammer’s Children, Between Visuality and Aurality – Christian Chelebourg: Beauty is the Beast: Horror According to John Gilling – Rehan Hyder: Unmasking the Other: Danger and Difference in Hammer’s Colonial Horrors – Vicky Walden: Postcolonial Anxieties in Hammer’s Dracula and The Curse of Frankenstein – Jean-Marie Lecomte: Epistemology and Power Politics in The Abominable Snowmen (1957) and Lesser-Known Hammer Gothics – Ian Conrich: Hammer Hybrids, Genre Mutation and 1970s Horror Cinema – Matt Jones: Reigniting the Blaze: Hammer’s Unmade Remake of The Day the Earth Caught Fire – Marisa C. Hayes – Mapping Cult Topographies and Transgressive Space: Hammer’s Legacy in The Rocky Horror Picture Show – Sophie Mantrant: A New Old Hammer? The Woman in Black (James Watkins, 2012) – General Bibliography – Index.

Mélanie Boissonneau received her Ph.D. in film studies. She is the author of Pin-up au temps du Pré-Code : 1930-1934 (2019) and co-editor of Tim Burton, horreurs enfantines (2016) and Cinéphilies/sériphilies 2.0, Les nouvelles forms d’attachement aux images (Peter Lang, 2019).Gilles Menegaldo is Emeritus professor of literature and film (University of Poitiers). He is the author of Dracula, la Noirceur et la grâce (with A-M Paquet-Deyris), 130 articles on literature and cinema, and 35 edited collections of essays. His recent publications include Tim Burton, a Cinema of Transformations (2018) and Spectres of Poe with J. Dupont (2020).Anne-Marie Paquet-Deyris is Professor of Film and TV Series Studies and (African) American Literature at University Paris Nanterre. She wrote over 80 articles and 21 books, among the latest, 3 co-edited collections of essays, Vérités et mensonges dans le cinéma hollywoodien (Truths and Lies in Hollywood Film) with D. Sipière (2021), Histoire, légende, imaginaire : Nouvelles études sur le Western (2018) on the history of the American West in the western film genre, and Combining Aesthetic and Psychological Approaches to TV Series Addiction (2018).

• List of Illustrations – Notes on Contributors – Antonio Sanna: Preface: The Need for Hammer Films – Mélanie Boissonneau, Gilles Menegaldo, Anne-Marie Paquet-Deyris: Introduction: Dark Recesses in the House of Hammer – Isabelle Labrouillère: Intermediality as a Way to Debunk Tradition: New Perspectives on Terence Fisher’s The Curse of Frankenstein (1957) – Dorota Babilas: The Phantom of the Opera Goes Victorian – Hélène Valmary: Acting Hammer Style: About Peter Cushing and Christopher Lee – Jean-François Baillon: Hammer Motel: Twisted Nerves and Twisted Plots in the Post-Psycho British Psycho-Thriller – Gaïd Girard: Hammer Science-Fiction Horror and the Decline of the British Male Hero: The Quatermass Trilogy – David Roche: The Political Complications of Revamping the Horror Canon: The Vampire Lovers (Baker, 1970), Dr. Jekyll & Sister Hyde (Baker, 1971), Dracula A.D. 1972 (Gibson, 1972) and The Satanic Rites of Dracula (Gibson, 1973) – Jean-Pierre Naugrette: Why Does Sherlock Holmes Capture the Black Rook of Dr. Mortimer in Terence Fisher’s The Hound of the Baskervilles (1959)? – Cécile Carayol: The Vampire Figure: Recurring Principles in Hammer’s Symphonic Film Music until Twilight: New Moon – Jean-Michel Durafour: Terence Fisher with a Lake Scenery – Raphaëlle Costa De Beauregard: Jack Asher (1916–1991) and the Creation of an Original ‘Eastman Color’ Hammer: Between Hollywood Color Tropes and Aesthetic Innovation – Robynn J. Stilwell: The Sonic Realm in The Quatermass Experiment: Medium and Genre and Sound – Philippe Met: Hammer’s Children, Between Visuality and Aurality – Christian Chelebourg: Beauty is the Beast: Horror According to John Gilling – Rehan Hyder: Unmasking the Other: Danger and Difference in Hammer’s Colonial Horrors – Vicky Walden: Postcolonial Anxieties in Hammer’s Dracula and The Curse of Frankenstein – Jean-Marie Lecomte: Epistemology and Power Politics in The Abominable Snowmen (1957) and Lesser-Known Hammer Gothics – Ian Conrich: Hammer Hybrids, Genre Mutation and 1970s Horror Cinema – Matt Jones: Reigniting the Blaze: Hammer’s Unmade Remake of The Day the Earth Caught Fire – Marisa C. Hayes – Mapping Cult Topographies and Transgressive Space: Hammer’s Legacy in The Rocky Horror Picture Show – Sophie Mantrant: A New Old Hammer? The Woman in Black (James Watkins, 2012) – General Bibliography – Index.