"The Jack Arnold films "Creature From the Black Lagoon" and "Revenge of the Creature" create complicated metaphorical links between the Bomb, sexuality and gender and paranoia. Hendershot articulates the bomb and sexuality within the specific context of paranoia before looking at how Arnold's films explore these issues through the science fiction metaphor."
"[Bruce La Bruce] appears attracted to the zombie film not only because it traffics in comédie extremities but because of its fundamental allegorical surrealism. As demonstrated by [Otto]'s many imaginative and pithy visual devices (including a character who speaks in title cards and carries her own pocket of black-and-white cinematography and negative scratches with her like a shroud), La Brace's imagistic tendencies are closer to Cocteau and Murnau than they are to Night of the Living Dead, but he respects [George Romero]'s visual syntax enough to take it seriously, which is all that's required to make the parody work."
"In this comprehensive portrait of horror's definitive director, Tony Williams ties George A. Romero's films to the development of literary naturalism and American culture, expanding the artist's creative footprint beyond his mastery of the "splatter movie" genre. Williams locates Romero's influences in the work of Emile Zola, the Entertainment Comics of the 1950s, and the novels of Stephen King, revealing the interdisciplinary depth of his seminal films Night of the Living Dead (1968), Creepshow (1982), Monkey Shines (1988), and The Dark Half (1992). For this second edition, Williams reads Romero's Bruiser (2000) against his more recent Land of the Dead (2005) and takes a fresh look at Diary of the Dead (2007) and Survival of the Dead (2009), two overlooked films that feature Romero's greatest achievements yet."
"This chapter traces the development of the Frankenstein myth in twenty-first-century cinema to reach two main conclusions. First, it argues that the poor critical reception and box-office performances of post-millennial adaptations of Frankenstein suggest this myth may be on the wane, at least in cinema. Mainstream adaptations persist in turning Frankenstein’s creature into a hero and victim in a move that betrays a modern preference for the sympathetic monster. Second, the chapter argues that the Frankensteinian decline in cinema may be connected to the rise of the similar figure of the viral zombie. Zombies, as the sources of artificially engineered pandemics, readily channel contemporary anxieties regarding the dangers of unbridled scientific and technological advances and prod the boundaries between death and conscious life."