Richard J. Hand is Reader in Theatre and Media at the University of Glamorgan in Wales. Jay McRoy is Associate Professor of English at the University of Wisconsin-Parkside

• Monstrous adaptations: an introduction – Richard J. Hand and Jay McRoyPART I: From page to scream: literary adaptation and horror cinema1. Paradigms of metamorphosis and transmutation: Thomas Edison’s Frankenstein and John Barrymore’s Jekyll and Hyde – Richard J. Hand2. Painting the life out of her: aesthetic integration and disintegration in Jean Epstein’s La Chute de la maison Usher – Guy Crucianelli3. The unfilmable? H. P. Lovecraft and the cinema – Julian Petley4. Imperfect geometry: identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman – Brigid CherryPART II: Re-imaginings and re-articulations: thematic adaptation in contemporary horror cinema5. Out from the realist underground; or, the Baron of Blood visits Cannes: recursive and self-reflexive patterns in David Cronenberg’s Videodrome and eXistenZ – Steffen Hantke6. ‘These Children That You Spit On’: horror and generic hybridity – Andy W. Smith7. ‘Our Reaction Was Only Human’: monstrous becomings in Abel Ferrara's Body Snatchers – Jay McRoyPART III: From avant garde to exploitation: cinematic experiments as monstrous adaptation8. Adapting the occult: horror and the avant garde in the cinema of Stan Brakhage and Ken Jacob – Marianne Shaneen9. The Gorgon: adapting classical myth as gothic romance – I. Q. Hunter10. Marion Crane dies twice – Murray PomerancePART IV: Displacements and border crossings: horror cinema and transcultural adaptation11. Adapting legends: urban legends and their adaptation in horror cinema – Mikel J. Koven12. Fulcanelli as a vampiric Frankenstein and Jesus as his vampiric Monster: the Frankenstein and Dracula myths in Guillermo del Toro’s Cronos – Brad O’Brien13. Gothic horrors, family secrets and the patriarchal imperative: the early horror films of Mario Bava – Reynold Humphries14. ‘In the Church of the Poison Mind’: adapting the metaphor of psychopathology to look back at the mad, monstrous 80s – Ruth Goldberg15. ‘Everyone Will Suffer’: national identity and the spirit of subaltern vengeance in Nakata Hideo’s Ringu and Gore Verbinski’s The Ring – Linnie Blake

Richard J. Hand is Reader in Theatre and Media at the University of Glamorgan in Wales. Jay McRoy is Associate Professor of English at the University of Wisconsin-Parkside

• Monstrous adaptations: an introduction – Richard J. Hand and Jay McRoyPART I: From page to scream: literary adaptation and horror cinema1. Paradigms of metamorphosis and transmutation: Thomas Edison’s Frankenstein and John Barrymore’s Jekyll and Hyde – Richard J. Hand2. Painting the life out of her: aesthetic integration and disintegration in Jean Epstein’s La Chute de la maison Usher – Guy Crucianelli3. The unfilmable? H. P. Lovecraft and the cinema – Julian Petley4. Imperfect geometry: identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman – Brigid CherryPART II: Re-imaginings and re-articulations: thematic adaptation in contemporary horror cinema5. Out from the realist underground; or, the Baron of Blood visits Cannes: recursive and self-reflexive patterns in David Cronenberg’s Videodrome and eXistenZ – Steffen Hantke6. ‘These Children That You Spit On’: horror and generic hybridity – Andy W. Smith7. ‘Our Reaction Was Only Human’: monstrous becomings in Abel Ferrara's Body Snatchers – Jay McRoyPART III: From avant garde to exploitation: cinematic experiments as monstrous adaptation8. Adapting the occult: horror and the avant garde in the cinema of Stan Brakhage and Ken Jacob – Marianne Shaneen9. The Gorgon: adapting classical myth as gothic romance – I. Q. Hunter10. Marion Crane dies twice – Murray PomerancePART IV: Displacements and border crossings: horror cinema and transcultural adaptation11. Adapting legends: urban legends and their adaptation in horror cinema – Mikel J. Koven12. Fulcanelli as a vampiric Frankenstein and Jesus as his vampiric Monster: the Frankenstein and Dracula myths in Guillermo del Toro’s Cronos – Brad O’Brien13. Gothic horrors, family secrets and the patriarchal imperative: the early horror films of Mario Bava – Reynold Humphries14. ‘In the Church of the Poison Mind’: adapting the metaphor of psychopathology to look back at the mad, monstrous 80s – Ruth Goldberg15. ‘Everyone Will Suffer’: national identity and the spirit of subaltern vengeance in Nakata Hideo’s Ringu and Gore Verbinski’s The Ring – Linnie Blake

Richard J. Hand is Reader in Theatre and Media at the University of Glamorgan in Wales. Jay McRoy is Associate Professor of English at the University of Wisconsin-Parkside

• Monstrous adaptations: an introduction – Richard J. Hand and Jay McRoyPART I: From page to scream: literary adaptation and horror cinema1. Paradigms of metamorphosis and transmutation: Thomas Edison’s Frankenstein and John Barrymore’s Jekyll and Hyde – Richard J. Hand2. Painting the life out of her: aesthetic integration and disintegration in Jean Epstein’s La Chute de la maison Usher – Guy Crucianelli3. The unfilmable? H. P. Lovecraft and the cinema – Julian Petley4. Imperfect geometry: identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman – Brigid CherryPART II: Re-imaginings and re-articulations: thematic adaptation in contemporary horror cinema5. Out from the realist underground; or, the Baron of Blood visits Cannes: recursive and self-reflexive patterns in David Cronenberg’s Videodrome and eXistenZ – Steffen Hantke6. ‘These Children That You Spit On’: horror and generic hybridity – Andy W. Smith7. ‘Our Reaction Was Only Human’: monstrous becomings in Abel Ferrara's Body Snatchers – Jay McRoyPART III: From avant garde to exploitation: cinematic experiments as monstrous adaptation8. Adapting the occult: horror and the avant garde in the cinema of Stan Brakhage and Ken Jacob – Marianne Shaneen9. The Gorgon: adapting classical myth as gothic romance – I. Q. Hunter10. Marion Crane dies twice – Murray PomerancePART IV: Displacements and border crossings: horror cinema and transcultural adaptation11. Adapting legends: urban legends and their adaptation in horror cinema – Mikel J. Koven12. Fulcanelli as a vampiric Frankenstein and Jesus as his vampiric Monster: the Frankenstein and Dracula myths in Guillermo del Toro’s Cronos – Brad O’Brien13. Gothic horrors, family secrets and the patriarchal imperative: the early horror films of Mario Bava – Reynold Humphries14. ‘In the Church of the Poison Mind’: adapting the metaphor of psychopathology to look back at the mad, monstrous 80s – Ruth Goldberg15. ‘Everyone Will Suffer’: national identity and the spirit of subaltern vengeance in Nakata Hideo’s Ringu and Gore Verbinski’s The Ring – Linnie Blake