n Who Laughs: a film that Batman co-creator Bob Kane cited as a major influence on the development of the Joker.

The Classic Era

Chaney died in 1930, but the blow didn slow down the trend he helped create. Indeed, with the advent of sound came a legacy that may stand unequalled in the annals of the genre. German Expressionism fueled the movement, as did anxieties about the Depression and the rise of fascism across the globe. Horror movies, particularly those from Universal, gave audiences a safe catharsis for those fears. Bela Lugosi Dracula and Boris Karloff Frankenstein appeared in 1931, projects that Chaney would have likely headlined had he lived. Their immense success launched two decades worth of classic monster pictures, including The Mummy, The Invisible Man, The Wolf Man, The Bride of Frankenstein, The Raven, The Old Dark House, The Black Cat, Werewolf of London and a seemingly endless array of sequels and spin-offs.

The trappings of these movies quickly become horror clich spooky castles, gypsy curses and hunchbacked assistants and now serve as the basis for every elementary school Halloween decoration in the country. Lugosi and Karloff remain the definitive version of their respective characters, as do The Invisible Man Claude Rains, The Wolf Man Lon Chaney, Jr. and The Bride of Frankenstein Elsa Lanchester. Even as the trend faded in the late 1940s, Universal continued milking it most notably with the last of their monster movies, The Creature from the Black Lagoon in 1954, but also in satires and parodies like Abbot and Costello Meet Frankenstein.

The 1950s and 1960s

The 50s saw a fundamental shift in the genre, as Gothic houses and romanticized undead gave way to the terrors of the atomic age. Universal struggled to keep up with changing tastes, while ownership of the studio changed hands and various corporate owners began sticking their fingers in the pie. Though they produced a pair of minor classics in It Came from Outer Space and The Incredible Shrinking Man, the bulk of Universal horror output in this era suffered a severe dip in quality. Monster movies ultimately took a back seat to westerns like Winchester and melodramas like Written on the Wind. For a time, it looked as if Universal would all but abandon the genre that put it on the map.

This trend continued in the 1960s, when MCA purchased the company and began heavily focusing on television. Low-budget shockers like The Leech Woman became the order of the day, as did Hammer film imports like The Evil of Frankenstein ,dr dre monster beats, which Universal merely distributed. The few bright spots appeared courtesy of Alfred Hitchcock, who had enjoyed a fruitful relationship with the studio for many years and who produced his Alfred Hitchcock Presents TV show on the Universal lot. Though initially a Paramount release, Psycho was shot at Universal and subsequently became one of the most valued films in its library (the studio tour still includes a look at the Bates Motel). Hitchcock also delivered The Birds to Universal, giving the studio a sharp punchline to monster beats an otherwise dismal decade.

The Shark that Changed Everything

So it remained until 1975, when a young director named Steven Spielberg helmed an adaptation of Peter Benchley novel Jaws. Spielberg cut his teeth in the studio television branch and impressed the top brass with his TV movie Duel. Jaws transformed the fortunes of director and studio alike: rescuing Universal from decades of movie doldrums and launching Spielberg as the preeminent talent of his generation. The genre that made the studio had just rescued it, and Universal quickly took advantage of the opportunity.

The 1980s: A New Renaissance

As the Reagan Era began, Universal turned to several noted auteurs to deliver high-quality horror projects of the sort they once excelled at. John Landis brought the studio a pair of smash hit comedies Animal House and The Blues Brothers before expressing an interest in something darker. They let him run and the result was An American Werewolf in London, generally regarn Who Laughs: a film that Batman co-creator Bob Kane cited as a major influence on the development of the Joker.

The Classic Era

Chaney died in 1930, but the blow didn slow down the trend he helped create. Indeed, with the advent of sound came a legacy that may stand unequalled in the annals of the genre. German Expressionism fueled the movement, as did anxieties about the Depression and the rise of fascism across the globe. Horror movies, particularly those from Universal, gave audiences a safe catharsis for those fears. Bela Lugosi Dracula and Boris Karloff Frankenstein appeared in 1931, projects that Chaney would have likely headlined had he lived. Their immense success launched two decades worth of classic monster pictures, including The Mummy, The Invisible Man, The Wolf Man, The Bride of Frankenstein, The Raven, The Old Dark House, The Black Cat, Werewolf of London and a seemingly endless array of sequels and spin-offs.

The trappings of these movies quickly become horror clich spooky castles, gypsy curses and hunchbacked assistants and now serve as the basis for every elementary school Halloween decoration in the country. Lugosi and Karloff remain the definitive version of their respective characters, as do The Invisible Man Claude Rains, The Wolf Man Lon Chaney, Jr. and The Bride of Frankenstein Elsa Lanchester. Even as the trend faded in the late 1940s, Universal continued milking it most notably with the last of their monster movies, The Creature from the Black Lagoon in 1954, but also in satires and parodies like Abbot and Costello Meet Frankenstein.

The 1950s and 1960s

The 50s saw a fundamental shift in the genre, as Gothic houses and romanticized undead gave way to the terrors of the atomic age. Universal struggled to keep up with changing tastes, while ownership of the studio changed hands and various corporate owners began sticking their fingers in the pie. Though they produced a pair of minor classics in It Came from Outer Space and The Incredible Shrinking Man, the bulk of Universal horror output in this era suffered a severe dip in quality. Monster movies ultimately took a back seat to westerns like Winchester and melodramas like Written on the Wind. For a time, it looked as if Universal would all but abandon the genre that put it on the map.

This trend continued in the 1960s, when MCA purchased the company and began heavily focusing on television. Low-budget shockers like The Leech Woman became the order of the day, as did Hammer film imports like The Evil of Frankenstein ,dr dre monster beats, which Universal merely distributed. The few bright spots appeared courtesy of Alfred Hitchcock, who had enjoyed a fruitful relationship with the studio for many years and who produced his Alfred Hitchcock Presents TV show on the Universal lot. Though initially a Paramount release, Psycho was shot at Universal and subsequently became one of the most valued films in its library (the studio tour still includes a look at the Bates Motel). Hitchcock also delivered The Birds to Universal, giving the studio a sharp punchline to an otherwise dismal decade.

The Shark that Changed Everything

So it remained until 1975, when a young director named Steven Spielberg helmed an adaptation of Peter Benchley novel Jaws. Spielberg cut his teeth in the studio television branch and impressed the top brass with his TV movie Duel. Jaws transformed the fortunes of director and studio alike: rescuing Universal from decades of movie doldrums and launching Spielberg as the preeminent talent of his generation. The genre that made the studio had just rescued it, and Universal quickly took advantage of the opportunity.

The 1980s: A New Renaissance

As the Reagan Era began, Universal turned to several noted auteurs to deliver high-quality horror projects of the sort they once excelled at. John Landis brought the studio a pair of smash hit comedies Animal House and The Blues Brothers before expressing an interest in something darker. They let him run and the result was An American Werewolf in London, generally regarn Who Laughs: a film that Batman co-creator Bob Kane cited as a major influence on the development of the Joker.

The Classic Era

Chaney died in 1930, but the blow didn slow down the trend he helped create. Indeed, with the advent of sound came a legacy that may stand unequalled in the annals of the genre. German Expressionism fueled the movement, as did anxieties about the Depression and the rise of fascism across the globe. Horror movies, particularly those from Universal, gave audiences a safe catharsis for those fears. Bela Lugosi Dracula and Boris Karloff Frankenstein appeared in 1931, projects that Chaney would have likely headlined had he lived. Their immense success launched two decades worth of classic monster pictures, including The Mummy, The Invisible Man, The Wolf Man, The Bride of Frankenstein, The Raven, The Old Dark House, The Black Cat, Werewolf of London and a seemingly endless array of sequels and spin-offs.

The trappings of these movies quickly become horror clich spooky castles, gypsy curses and hunchbacked assistants and now serve as the basis for every elementary school Halloween decoration in the country. Lugosi and Karloff remain the definitive version of their respective characters, as do The Invisible Man Claude Rains, The Wolf Man Lon http://beatsbydrdreonline2013.webs.com Chaney, Jr. and The Bride of Frankenstein Elsa Lanchester. Even as the trend faded in the late 1940s, Universal continued milking it most notably with the last http://monstersbeatdrdrevip.webs.com of their monster movies, The Creature from the Black Lagoon in 1954, but also in satires and parodies like Abbot and Costello Meet Frankenstein.

The 1950s and 1960s

The 50s saw a fundamental shift in the genre, as Gothic houses and romanticized undead gave way to the terrors of the atomic age. Universal struggled to keep up with changing tastes, while ownership of the studio changed hands and various corporate owners began sticking their fingers in the pie. Though they produced a pair of http://monstersbeatbydrdre.webs.com minor classics in It Came from Outer Space and The Incredible Shrinking Man, the bulk of Universal horror output in this era suffered a severe dip in quality. Monster movies ultimately took a back seat to westerns like Winchester and melodramas like Written on the Wind. For a time, it looked as if Universal would all but abandon the genre that put it on the map.

This trend continued in the 1960s, when MCA purchased the company and began heavily focusing on television. Low-budget shockers like The Leech Woman became the order of the day, as did Hammer film imports like The Evil of Frankenstein ,dr dre monster beats, which Universal merely distributed. The few bright spots appeared courtesy of Alfred Hitchcock, who had enjoyed a fruitful relationship with the studio for many years and who produced his Alfred Hitchcock Presents TV show on the Universal lot. Though initially a Paramount release, Psycho was shot at Universal and subsequently became one of the most valued films in its library (the studio tour still includes a look at the Bates Motel). Hitchcock also delivered The Birds to Universal, giving the studio a sharp punchline to http://monstersbeatsdrdre2013.webs.com an otherwise dismal decade.

The Shark that Changed Everything

So it remained until 1975, when a young director named Steven Spielberg helmed an adaptation of Peter Benchley novel Jaws. Spielberg cut his teeth in the studio television branch and impressed the top brass with his TV movie Duel. Jaws transformed the fortunes of director and studio alike: rescuing Universal from decades of movie doldrums and launching Spielberg as the preeminent talent of his generation. The genre http://beatsbydrdrehotsale2013.webs.com that made the studio had just rescued it, and Universal quickly took advantage of the opportunity.

The 1980s: A New Renaissance

As the Reagan Era began, Universal turned to several noted auteurs to deliver high-quality horror projects of the sort they once excelled at. John Landis brought the studio a pair of smash hit comedies Animal House and The Blues Brothers before expressing an interest in something darker. They let him run and the result was An American Werewolf in London, generally regar

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