Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953–1968

The Creature from the Black Lagoon, the Tingler, the Mole People—they stalked and oozed into audiences’ minds during the era that followed Boris Karloff’s Frankenstein and preceded terrors like Freddy Krueger (A Nightmare on Elm Street) and Chucky (Child’s Play). Ghouls, Gimmicks, and Gold pulls off the masks and wipes away the slime to reveal how the monsters that frightened audiences in the 1950s and 1960s—and the movies they crawled and staggered through—reflected fundamental changes in the film industry. Providing the first economic history of the horror film, Kevin Heffernan shows how the production, distribution, and exhibition of horror movies changed as the studio era gave way to the conglomeration of New Hollywood.Heffernan argues that major cultural and economic shifts in the production and reception of horror films began at the time of the 3-d film cycle of 1953–54 and ended with the 1968 adoption of the Motion Picture Association of America’s ratings system and the subsequent development of the adult horror movie—epitomized by Rosemary’s Baby. He describes how this period presented a number of daunting challenges for movie exhibitors: the high costs of technological upgrade, competition with television, declining movie attendance, and a diminishing number of annual releases from the major movie studios. He explains that the production and distribution branches of the movie industry responded to these trends by cultivating a youth audience, co-producing features with the film industries of Europe and Asia, selling films to television, and intensifying representations of sex and violence. Shining through Ghouls, Gimmicks, and Gold is the delight of the true horror movie buff, the fan thrilled to find The Brain that Wouldn’t Die on television at 3 am.

Business & Money

Heffernan, Kevin

Industries

Duke University Press Books

The Creature from the Black Lagoon, the Tingler, the Mole People—they stalked and oozed into audiences’ minds during the era that followed Boris Karloff’s Frankenstein and preceded terrors like Freddy Krueger (A Nightmare on Elm Street) and Chucky (Child’s Play). Ghouls, Gimmicks, and Gold pulls off the masks and wipes away the slime to reveal how the monsters that frightened audiences in the 1950s and 1960s—and the movies they crawled and staggered through—reflected fundamental changes in the film industry. Providing the first economic history of the horror film, Kevin Heffernan shows how the production, distribution, and exhibition of horror movies changed as the studio era gave way to the conglomeration of New Hollywood.
Heffernan argues that major cultural and economic shifts in the production and reception of horror films began at the time of the 3-d film cycle of 1953–54 and ended with the 1968 adoption of the Motion Picture Association of America’s ratings system and the subsequent development of the adult horror movie—epitomized by Rosemary’s Baby. He describes how this period presented a number of daunting challenges for movie exhibitors: the high costs of technological upgrade, competition with television, declining movie attendance, and a diminishing number of annual releases from the major movie studios. He explains that the production and distribution branches of the movie industry responded to these trends by cultivating a youth audience, co-producing features with the film industries of Europe and Asia, selling films to television, and intensifying representations of sex and violence. Shining through Ghouls, Gimmicks, and Gold is the delight of the true horror movie buff, the fan thrilled to find The Brain that Wouldn’t Die on television at 3 am.

The conductor announces Oakland Station resort, and the passenger cars quickly empty. It is summer in the late 1800s, and travelers from New York City and Paterson are eager to begin their vacations. They have come to enjoy a mountainous place of pristine beauty, cooled by a river, ponds, and springs. After two and a half centuries as a sleepy farming community within sight of New York City, Oakland had become a summer resort with its own railroad station and grand Victorian hotels.First settled nearly a century before the American Revolution by ten Dutch families, this Ramapo Mountain community has a rich heritage that includes the founding of the Ponds Dutch Reformed Church in 1710, George Washington's visit to the Van Allen House in 1777, and the establishment of the borough of Oakland in 1902.

Oakland

History

Madden, John

Americas

Arcadia Publishing Library Editions

This remarkable biography-written by Divine's mother Frances Millstead, with Kevin Heffernan and Steve Yeager, the award-winning filmmakers whose documentary film Divine Trash won the Filmmakers Trophy at the 1998 Sundance Film Festival-reveals a never-before-seen side of the internationally renowned actor and drag performer. As she tells of his childhood, their long estrangement, and a heart-warming reconciliation before his death, Frances Millstead brings a mother's love and insight to the story of Glenn Harris Millstead, who would shock his way to international stardom as Divine, the star of John Waters cult films Female Trouble, Pink Flamingos, Polyester, and his breakthrough hit, Hairspray. Following him as he grows from angelic choirboy to troubled teen to flamboyant adult, this account reconciles for the first time the two sides of Divine-outrageous performer and loving son-as the legendary star's humanity is lovingly and movingly revealed through words and heretofore unpublished photos. 
Features: 
Hundreds of previously unpublished photographs.
8 page full color insert
Marketing Plans:
Bookstores: Posters, Postcards, Tattoos
Media targets: Entertainment Weekly, People Magazine, US Weekly, Premiere, Vanity Fair. NPR national and affiliate programs. Network morning shows. 
Advance reader copies available.
Frances Millstead lives in Florida, wher she is active in a variety of civic and religious groups and works to increase acceptance for the gay and lesbian members of the Southern Baptist Convention. Kevin Heffernan is assistant professor of cinema at Southern Methodist University in Dallas, where he lives with his wife and daughter. Steve Yeager is the director of Divine Trash, On the Block, and In Bad Taste. He lives in Baltimore.
An Excerpt
Thursday, October 18, 1945, was a beautiful fall day. The doctor had told me I would give birth around the 19th. I decided to go to my mother-in-law's house so I wouldn't be alone if I went into labor. Harris dropped me off there on his way to work. Mom and I prepared dinner, and we talked and laughed about my having the baby. I was

My Son Divine

Biographies & Memoirs

Milstead, Frances

Yeager, Steve

Arts & Literature

Alyson Books

Tucked away in the northwestern corner of Bergen County, Oakland was for years a peacefully undiscovered outpost. Yet as Kevin Heffernan chronicles in A History of Oakland, the town’s placid, easygoing character belies a fascinating and deeply engrossing history. From the interactions between the earliest Dutch settlers and the area’s Lenape Indians, to the surprising pro-slavery attitudes of mid-nineteenth-century northern New Jersey, to the radical―and, to some, wrenching―changes wrought by late twentieth-century commercial development, Heffernan provides a definitive account of the life and times of this once-sleepy town.

A History of Oakland: The Story of Our Village (Brief History)

Arts & Photography

Photography & Video

The History Press

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Books by Heffernan, Kevin