Eros in the Mind's Eye: Sexuality and the Fantastic in Art and Film

By Donald Palumbo | Go to book overview

NOTES
1.
William K. Everson points out that horror films could not become a major genre until the sound era because--like musicals and newspaper pictures--they need an aural dimension to be complete. From the obligatory jarring sounds that accompany startling "bus effects," to the subtler off-screen noises of unseen things in the dark, to the traditional, often clichéd creaking doors, crashing thunderclaps, and crackling rheostats--sound is as important to and inseparable from horror films as orchestrated production numbers and fast-talking reporters are to musicals and newspaper pictures. Classics of the Horror Film ( Secaucus, N.J.: Citadel Press, 1974), pp. 3-4.
2.
Steve Vertlieb, "The Man Who Saved King Kong," The Monster Times 1, no. 1 ( January 1972); rev. and rpt. in The Girl in the Hairy Paw: King Kong as Myth, Movie, and Monster, eds. Ronald Gottesman and Harry Geduld ( New York: Avon Books, 1976), p. 35.
3.
Kingsley Canham, The Hollywood Professionals, vol. 1, Michael Curtiz, Raoul Walsh, Henry Hathaway ( New York: A. S. Barnes & Co., 1973), p. 13.
4.
"How Wray Met Kong, or the Scream That Shook the World," The New York Times, September 21, 1969, p. 17.
5.
Gottesman and Geduld, The Girl in the Hairy Paw, pp. 21-22.
6.
Charles Baudelaire, Oeuvres Complètes ( Paris: Editions Gallimard, 1961), pp. 1091-1092, translated by the author.
7.
Gerald Peary, "Missing Links: The Jungle Origins of King Kong," in The Girl in the Hairy Paw, p. 42.
8.
Bosley Crowther, The Great Films ( New York: G. P. Putnam's Sons, 1967), p. 97.

-139-

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