David J. Skal

#2

1986

Our dramatization of this myth of ancient horror is not for children. We do not minimize the genuine horror and sexuality of the story. It is not camp; it is not played for laughs, though it does have important scenes of comic relief; we take the myth of the vampire seriously. It is not a marathon; we follow where Bram Stoker leads, carefully condensing and pruning his expansive novel into a tightly structured theatrical experience of normal length. We dissected the events and chronology of his story down to the minutest detail, and we found that his work is seamless; grant him only the premise that there can be such a being as a vampire, and all else follows with flawless probability and necessity. In the end, the audience should feel that they have been with our characters on a tremendous journey, a quest with life and death at stake, not just for their lives, but for their souls as well. The end of the play--the final victory over the vampire--is a transcendent victory over evil incarnate. This play is a play--not a dramatization with narration and dialogue. It is a fully realized play for the stage, conveying story through action and dialogue. We do go so far as to use Stoker's convention in which written messages convey important events and information, but we always present such messages in the mouths and by the actions of the characters who write and send them. Last but not least, we embrace the emotional richness of the 19th century language and characterization. In many cases, we draw our dialogue directly from Stoker.

#3

1993

"I'll show you what horror means," snarled Fredric March in the 1931 film version of Dr. Jekyll and Mr. Hyde. Six decades later, the acclaimed author of Hollywood Gothic makes good on Mr. Hyde's promise with the most ambitious and entertaining history of the genre ever published. America is in love with horror, with demon children, gender-bending vampires, and the battlefield aesthetic of post-Vietnam movies. Horror entertainment in all its forms - from Dracula, Frankenstein, and the Phantom of the Opera to Stephen King, Anne Rice, and the Terminator, from Tod Browning's "Freaks" to the photographs of Diane Arbus and the neo-Gothic trappings of heavy metal music - is a multi-billion-dollar cultural juggernaut. Illuminating the dark side of the American century, this provocative book uncovers the surprising links between horror entertainment and the great social crises of our time, as well as horror's function as a pop analogue to surrealism and other artistic movements. With penetrating social analysis and revealing anecdote, David Skal chronicles one of our most popular and pervasive modes of cultural expression. He explores the disguised form in which Hollywood's classic horror movies played out the traumas of two world wars and the Depression; the nightmare visions of invasion and mind control catalyzed by the Cold War; the preoccupation with demon children that took hold as thalidomide, birth control, and abortion changed the reproductive landscape; the vogue in visceral, transformative special effects that paralleled the development of the plastic surgery industry; the link between the AIDS epidemic and the current fascination with vampires; and much more.