Mark McKenna is Lecturer in Film, Television and Radio at Staffordshire University, UK.William Proctor is Principal Lecturer in Comics, Film & Transmedia at Bournemouth University, UK.

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• Introduction. The Death and Resurrection Show: Horror Franchise Cinema and the Romanticization of Cult; 1. Building Imaginary Horror Worlds: Transfictional Storytelling and the Universal Monster Franchise Cycle; Section I: Slasher and Post-Slashers; 2. The Texas Chainsaw Massacre: A ‘Peculiar, Erratic’ Franchise; 3. If I Were a Carpenter: Prestige and Authorship in the Halloween Franchise; 4. If Nancy Doesn’t Wake Up Screaming: The Elm Street Series as Recurring Nightmare; 5. Allowing ‘Us Just to LIVE There’: Atmosphere and Audience Evaluation of the Alien Film Series; Section II: Millennial Franchises; 6. Cut-Price Creeps: The Blumhouse Model of Horror Franchise Management; 7. When the Subtext Becomes Text: The Purge Takes on the American Nightmare; Section III: Cult Franchises; 8. “What Film is Your Film Like”? Negotiating Authenticity in the Distributive Seriality of the Zombi Franchise; 9. Horror Heroine or Symbolic Sacrifice: Defining the I Spit on Your Grave Franchise as Horror; Section IV: Complicating Franchising; 10. Seriality between the Horror Franchise and the Horror Anthology Film; 11. When is a Franchise Not a Franchise: The Case of Let the Right One In; 12. ‘A Match Made in Heaven (or Hell)’: Franchise Experiments Between the Horror Film Genre and Virtual Reality Media (2014-2020)

Mark McKenna is Lecturer in Film, Television and Radio at Staffordshire University, UK.William Proctor is Principal Lecturer in Comics, Film & Transmedia at Bournemouth University, UK.

Select Guide Rating

• Introduction. The Death and Resurrection Show: Horror Franchise Cinema and the Romanticization of Cult; 1. Building Imaginary Horror Worlds: Transfictional Storytelling and the Universal Monster Franchise Cycle; Section I: Slasher and Post-Slashers; 2. The Texas Chainsaw Massacre: A ‘Peculiar, Erratic’ Franchise; 3. If I Were a Carpenter: Prestige and Authorship in the Halloween Franchise; 4. If Nancy Doesn’t Wake Up Screaming: The Elm Street Series as Recurring Nightmare; 5. Allowing ‘Us Just to LIVE There’: Atmosphere and Audience Evaluation of the Alien Film Series; Section II: Millennial Franchises; 6. Cut-Price Creeps: The Blumhouse Model of Horror Franchise Management; 7. When the Subtext Becomes Text: The Purge Takes on the American Nightmare; Section III: Cult Franchises; 8. “What Film is Your Film Like”? Negotiating Authenticity in the Distributive Seriality of the Zombi Franchise; 9. Horror Heroine or Symbolic Sacrifice: Defining the I Spit on Your Grave Franchise as Horror; Section IV: Complicating Franchising; 10. Seriality between the Horror Franchise and the Horror Anthology Film; 11. When is a Franchise Not a Franchise: The Case of Let the Right One In; 12. ‘A Match Made in Heaven (or Hell)’: Franchise Experiments Between the Horror Film Genre and Virtual Reality Media (2014-2020)

Mark McKenna is Lecturer in Film, Television and Radio at Staffordshire University, UK.William Proctor is Principal Lecturer in Comics, Film & Transmedia at Bournemouth University, UK.

Select Guide Rating

• Introduction. The Death and Resurrection Show: Horror Franchise Cinema and the Romanticization of Cult; 1. Building Imaginary Horror Worlds: Transfictional Storytelling and the Universal Monster Franchise Cycle; Section I: Slasher and Post-Slashers; 2. The Texas Chainsaw Massacre: A ‘Peculiar, Erratic’ Franchise; 3. If I Were a Carpenter: Prestige and Authorship in the Halloween Franchise; 4. If Nancy Doesn’t Wake Up Screaming: The Elm Street Series as Recurring Nightmare; 5. Allowing ‘Us Just to LIVE There’: Atmosphere and Audience Evaluation of the Alien Film Series; Section II: Millennial Franchises; 6. Cut-Price Creeps: The Blumhouse Model of Horror Franchise Management; 7. When the Subtext Becomes Text: The Purge Takes on the American Nightmare; Section III: Cult Franchises; 8. “What Film is Your Film Like”? Negotiating Authenticity in the Distributive Seriality of the Zombi Franchise; 9. Horror Heroine or Symbolic Sacrifice: Defining the I Spit on Your Grave Franchise as Horror; Section IV: Complicating Franchising; 10. Seriality between the Horror Franchise and the Horror Anthology Film; 11. When is a Franchise Not a Franchise: The Case of Let the Right One In; 12. ‘A Match Made in Heaven (or Hell)’: Franchise Experiments Between the Horror Film Genre and Virtual Reality Media (2014-2020)