It got here From the 1950s is an eclectic, witty and insightful number of essays predicated at the speculation that renowned cultural files supply targeted insights into the worries, anxieties and needs in their occasions. The essays explore the emergence of "Hammer Horror" and the company's groundbreaking 1958 edition of Dracula; the paintings of renowned authors similar to Shirley Jackson and Robert Bloch, and the impact that 50s foodstuff ads had upon the poetry of Sylvia Plath; where of lighting tricks within the decade's technology fiction motion pictures; and Fifties Anglo-American family members as refracted throughout the prism of the 1957 movie Night of the Demon.
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Additional info for It Came From the 1950s!: Popular Culture, Popular Anxieties
Night of the Demon suggests that, at the very least, what is required is an Edwardian scholar-connoisseur’s appreciation of the appeal, force, and validity of the supernatural, and of the fact that it does exist and have a place in the modern world. T. Kumar of Bombay (Peter Elliott, not even remotely Indian), both representatives of decolonized former British Imperial territories, both well versed in the old ways. Professor O’Brien says, ‘I’m a scientist also, Dr Holden. I know the value of the cold light of reason, but I also know the deep shadows that light can cast.
2 From its first deployment, the atomic bomb began radiating metaphors about knowledge, sin, and science that gave startling new life to ancient ideas. ‘I am become Death, shatterer of worlds,’ said bomb scientist J. Robert Oppenheimer, quoting the Upanishad after the first test detonation. G. Wells, who died in 1946, bitter and frustrated by a war that had dashed his utopian hopes, saw a real Judgment Day. 3 Promethean presumption, the spoiling of Eden, Pandora’s box, the golem, Faust, and Frankenstein all absorbed new energy from the atomic blast and in the process gave popular culture of the post-war years a particular mythic intensity.
14 When the story treatment for Them! ’15 26 It Came from the 1950s! Unfortunately, screenwriter Yates, like many a mad scientist, overreached in his creation of mutant insects and turned in a script that deviated considerably from his original concept and was considered unfilmable because of budget considerations. Sherdeman took the script over and shaped the final version, which moved the ants from New York subway tunnels to Los Angeles storm sewers, and eliminated a final battle between the military and the monsters on an amusement pier (Warner story editors obviously recycled the concept in the roller coaster finale of The Beast from 20,000 Fathoms, released the previous year).