Independent dreams, American nightmares: Industrial transgression and critical organization in the work of George A. Romero | Intellect Skip to content
1981
  1. Home
  2. A-Z Publications
  3. Horror Studies
  4. Volume 12, Issue 1
  5. Article
Volume 12, Issue 1
  • ISSN: 2040-3275
  • E-ISSN: 2040-3283

Abstract

Film critic Robin Wood categorized George A. Romero as a transgressive genre filmmaker, a director who with films such as offered a consistent, and consistently bloody, attack on the normative social constructs that dominate US culture. Within such advocacy, Wood helped define Romero as a specific cultural type – as a horror film auteur. This article considers Wood’s framing within a wider critical, commercial and industrial context, asking how this ideological analysis became, paradoxically, part of a more conservative organization of Romero. By drawing upon business theory and a media industries methodology, I shed new light on Romero’s efforts to cultivate a boundaryless independent cinema unbeholden to institutional norms, demonstrating challenges to leadership roles, market orientation, financing and genre. While Romero’s typecasting as a horror auteur was ultimately delimiting, I also consider the filmmaker’s complicity in this codification, scrutinizing his knowing attempts to parlay brand-name recognition into a lasting platform for non-Hollywood production. This article offers a unique insight into the industrial and business contexts of horror cinema, revealing a rare intersection between critical reception and industrial navigation while complicating our understanding of both Wood’s seminal writings and one of the genre’s totemic ‘masters’.

© 2021 Intellect Ltd
Loading

Article metrics loading...

/content/journals/10.1386/host_00028_1
2021-03-01
2024-05-01
Loading full text...

Full text loading...

References

  1. Albright, B.. ( 2012), Regional Horror Films, 1958-1990: A State-by-State Guide with Interviews, Jefferson, NC:: McFarland & Company, Inc;.
     [Google Scholar]
  2. Allen, T.. ( 1979;), ‘ Knight of the living dead. ’, Village Voice, 23 April, pp. 1, 44–6.
     [Google Scholar]
  3. Altman, R.. ( 1999), Film/Genre, London:: British Film Institute;.
     [Google Scholar]
  4. Anderson, G.. ( 1981;), ‘ On the set of Romero’s “Creepshow”. ’, Pittsburgh Post-Gazette, 28 October, p. 28.
     [Google Scholar]
  5. Anon. ( 1982;), ‘ WB has domestic “Creepshow” rights. ’, Variety, 23 June, pp. 3, 32.
     [Google Scholar]
  6. Austin, R.. ( 1972), Virgin Witch, UK:: Tigon, Joseph Brenner Associates;.
     [Google Scholar]
  7. Barker, C.. ( 2004), The SAGE Dictionary of Cultural Studies, London:: Sage;.
     [Google Scholar]
  8. Bell, T.. ( 1941), Out of This Furnace, Pittsburgh, PA:: University of Pittsburgh Press;.
     [Google Scholar]
  9. Bernardoni, J.. ( 1991), The New Hollywood: What the Movies Did with the New Freedoms of the Seventies, Jefferson, NC:: McFarland & Company;.
     [Google Scholar]
  10. BFI Events ( 2013;), ‘ George Romero in conversation. ’, BFI, 8 November, https://player.bfi.org.uk/film-george-romero-in-conversation-2013. Accessed 22 March 2016.
     [Google Scholar]
  11. Blank, E. L.. ( 1980;), ‘ No horsing around for these knights. ’, Pittsburgh Press, 27 July, pp. 8–10.
     [Google Scholar]
  12. Blythe, J.. ( 2014), Principles and Practice of Marketing, , 3rd ed.., London:: Sage;.
     [Google Scholar]
  13. Carpenter, J.. ( 1978), Halloween, USA:: Compass International Pictures;.
     [Google Scholar]
  14. Castle, W.. ( 1958), Macabre, USA:: William Castle Productions, Allied Artists Pictures;.
     [Google Scholar]
  15. Clarke, S.. ( 1961), The Connection, USA:: Films Around the World;.
     [Google Scholar]
  16. Cook, D.. ( 1990), A History of Narrative Film, , 2nd ed.., New York:: W. W. Norton & Company;.
     [Google Scholar]
  17. Corrigan, T.. ( 1990;), ‘ The commerce of auteurism: A voice without authority. ’, New German Critique, 49:Winter, pp. 43–57.
     [Google Scholar]
  18. Cunningham, S. S.. ( 1980), Friday the 13th, USA:: Sean S. Cunningham Films, Paramount Pictures;.
     [Google Scholar]
  19. Daniel, D.. ( 1988;), ‘ Savini speaks: Interview with a master illusionist. ’, Deep Red, 3, June, pp. 5–18.
     [Google Scholar]
  20. Dixon, W. W.. ( 2011;), ‘ The Orson Welles of the Z Picture: An interview with Roger Corman. ’, in C. Nasr. (ed.), Roger Corman: Interviews, Jackson, MS:: University Press of Mississippi;, pp. 136–47.
     [Google Scholar]
  21. Donaldson, L. F.. ( 2011;), ‘ Normality is threatened by the monster: Robin Wood, Romero and Zombies. ’, CineAction, 84, pp. 24–31.
     [Google Scholar]
  22. ‘ Episode dated 30 October 1980. ’ ( 1980), Paul George. (dir.), Tomorrow Coast to Coast (30 October, USA:: NBC;).
     [Google Scholar]
  23. Faculty of English ( n.d.;), ‘ Introduction to practical criticism. ’, University of Cambridge, https://www.english.cam.ac.uk/classroom/pracrit.htm. Accessed 17 June 2020.
     [Google Scholar]
  24. Gamble, A.,, Kelly, G., and Parkinson, J.. ( 2000;), ‘ Introduction: The political economy of the company. ’, in J. Parkinson,, G. Kelly, and A. Gamble. (eds), The Political Economy of the Company, Oxford:: Hart Publishing;, pp. 1–20.
     [Google Scholar]
  25. Gange, P. R.. ( 1987), The Zombies That Ate Pittsburgh: The Films of George A. Romero, New York:: Dodd, Mead and Company;.
     [Google Scholar]
  26. Gedajlovic, E.,, Lubatkin, M. H., and Schulze, W. S.. ( 2004;), ‘ Crossing the threshold from founder management to professional management: A governance perspective. ’, Journal of Management Studies, 41:5, pp. 899–912.
     [Google Scholar]
  27. Godard, J.-L., and Gorin, J.-P.. ( 1972), Tout va bien, France:: Gaumont Film Company;.
     [Google Scholar]
  28. Gomery, D.. ( 1996;), ‘ The economics of the horror film. ’, in J. B. Weaver III, and R. Tamborini. (eds), Horror Films: Current Research on Audience Preferences and Reactions, London:: Routledge;, pp. 49–62.
     [Google Scholar]
  29. Gomery, D.. ( 2004;), ‘ The Hollywood studio system: 1930-1949. ’, in T. Schatz. (ed.), Hollywood: Critical Concepts in Media and Cultural Studies, Volume One – Historical Dimensions: The Development of the American Film Industry, London:: Routledge;, pp. 107–28.
     [Google Scholar]
  30. Grant, B. K.. ( 2018;), ‘ Foreword. ’, in B. K. Grant. (ed.), Robin Wood on the Horror Film: Collected Essays and Reviews, Detroit, MI:: Wayne State University Press;, pp. vii–x.
     [Google Scholar]
  31. Hammer, R.. ( 1980), Don’t Answer the Phone!, USA:: Crown International Pictures;.
     [Google Scholar]
  32. Hanners, J., and Kloman, H.. ( 1982;), ‘ “The McDonaldization of America”: An interview with George A. Romero. ’, Film Criticism, 7:1, pp. 69–81.
     [Google Scholar]
  33. Hanson, J., and Nilsson, R.. ( 1978), Northern Lights, USA:: Cine Manifest Productions;.
     [Google Scholar]
  34. Heffernan, K.. ( 2002;), ‘ Inner-city exhibition and the genre film: Distributing “Night of the Living Dead” (1968). ’, Cinema Journal, 41:3, pp. 59–77.
     [Google Scholar]
  35. Hilmes, M.. ( 2009;), ‘ Nailing mercury: The problem of media industry historiography. ’, in J. Holt, and A. Perren. (eds), Media Industries: History, Theory, and Method, Chichester:: Wiley-Blackwell;, pp. 21–33.
     [Google Scholar]
  36. Hitchcock, A.. ( 1959), North by Northwest, USA:: MGM;.
     [Google Scholar]
  37. Holt, J., and Perren, A.. ( 2009;), ‘ Introduction: Does the world really need one more field of study?. ’, in J. Holt, and A. Perren. (eds), Media Industries: History, Theory, and Method, Chichester:: Wiley-Blackwell;, pp. 1–16.
     [Google Scholar]
  38. Hopper, D.. ( 1969), Easy Rider, USA:: Pando Company, Raybert Productions, Columbia Pictures;.
     [Google Scholar]
  39. Insdorf, A.. ( 1981;), ‘ Ordinary people, European-style, or how to spot an independent feature. ’, American Film, 6:10, pp. 57–60.
     [Google Scholar]
  40. Kapsis, R. E.. ( 1992), Hitchcock: The Making of a Reputation, Chicago, IL:: University of Chicago Press;.
     [Google Scholar]
  41. Kehr, D.. ( 2011), When Movies Mattered: Reviews from a Transformative Decade, Chicago, IL:: University of Chicago Press;.
     [Google Scholar]
  42. Kellner, D.. ( 2004;), ‘ Cultural industries. ’, in T. Miller, and R. Stam. (eds), A Companion to Film Theory, Malden, MA:: Blackwell Publishing;, pp. 202–20.
     [Google Scholar]
  43. Kiely, K.. ( 1982;), ‘ IRS has role in film investment. ’, Pittsburgh Press, 24 January, p. 1, A-18.
     [Google Scholar]
  44. King, S.. ( 1974), Carrie, New York:: Doubleday;.
     [Google Scholar]
  45. King, S.. ( 1978), The Stand, New York:: Doubleday;.
     [Google Scholar]
  46. Laurel Entertainment Inc. ( 1980a), Form 10-K for Fiscal Year Ended 31 March 1980, Washington, DC:: Securities and Exchange Commission;.
     [Google Scholar]
  47. Laurel Entertainment Inc. ( 1980b), Sale of Common Stock Prospectus, 24 April, New York:: Rosenkrantz, Ehrenkrantz, Lyon and Ross Incorporated;.
     [Google Scholar]
  48. Laurel Entertainment Inc. ( 1981), Form 10-K for Fiscal Year Ended 31 March 1981, Washington, DC:: Securities and Exchange Commission;.
     [Google Scholar]
  49. Lien, Y.-C., and Li, S.. ( 2014;), ‘ Professionalization of family business and performance effect. ’, Family Business Review, 27:4, pp. 346–64.
     [Google Scholar]
  50. Lenzi, U.. ( 1975), Eyeball, Italy:: National Cinematografica, Joseph Brenner Associates;.
     [Google Scholar]
  51. Lippe, R.,, Williams, T., and Wood, R.. ( 1980;), ‘ The George Romero interview. ’, Cinema Spectrum, 1:1, pp. 4–7.
     [Google Scholar]
  52. MacBean, J. R.. ( 1972;), ‘ Godard and the Dziga Vertov Group: Film and dialectics. ’, Film Quarterly, 26:1, pp. 30–44.
     [Google Scholar]
  53. Martino, S.. ( 1973), Torso, Italy:: Compagnia Cinematografica Champion, Joseph Brenner Associates;.
     [Google Scholar]
  54. McBride, J.. ( 1967), David Holzman’s Diary, USA:: New Yorker Films;.
     [Google Scholar]
  55. Miller, T.. ( 1992;), ‘ The roots of the 1960s communal revival. ’, American Studies, 33:2, pp. 73–93.
     [Google Scholar]
  56. Nuñez, V.. ( 1979), Gal Young ’Un, USA:: Nunez Films, FAIFF, First-Run Features;.
     [Google Scholar]
  57. De Palma, B.. ( 1968), Greetings, USA:: West End Films, Sigma III;.
     [Google Scholar]
  58. De Palma, B.. ( 1976), Carrie, USA:: Red Bank Films, United Artists;.
     [Google Scholar]
  59. Pearce, R.. ( 1979), Heartland, USA:: National Endowment for the Humanities, Filmhaus, Levitt-Pickman Film Corporation;.
     [Google Scholar]
  60. Peckinpah, S.. ( 1969), The Wild Bunch, USA:: Warner Bros.-Seven Arts;.
     [Google Scholar]
  61. Penn, A.. ( 1967), Bonnie and Clyde, USA:: Warner Bros.-Seven Arts;.
     [Google Scholar]
  62. Perry, D.. ( 1962), David and Lisa, USA:: Vision Associates Productions, Continental Distributing;.
     [Google Scholar]
  63. Ray, N.. ( 1956), Bigger than Life, USA:: 20th Century Fox;.
     [Google Scholar]
  64. Reisz, K.. ( 1960), Saturday Night and Sunday Morning, UK:: Woodfall Film Productions, British Lion Films;.
     [Google Scholar]
  65. Romagnola, R.. ( 1980;), ‘ Episode dated 17 October 1980. ’, The Dick Cavett Show, USA:: PBS;.
     [Google Scholar]
  66. Romero, G. A.. ( 1968), Night of the Living Dead, USA:: Image Ten, Continental Distributing;.
     [Google Scholar]
  67. Romero, G. A.. ( 1971), There’s Always Vanilla (alternative title The Affair), USA:: Latent Image, Cambist Films;.
     [Google Scholar]
  68. Romero, G. A.. ( 1972), Jack’s Wife (alternative title Hungry Wives), USA:: Latent Image, Jack H. Harris Enterprises;.
     [Google Scholar]
  69. Romero, G. A.. ( 1973), The Crazies, USA:: Latent Image, Cambist Films;.
     [Google Scholar]
  70. Romero, G. A.. ( 1977), Martin, USA:: The Laurel Group, Libra Films;.
     [Google Scholar]
  71. Romero, G. A.. ( 1978), Dawn of the Dead, USA:: The Laurel Group, United Film Distribution Company;.
     [Google Scholar]
  72. Romero, G. A.. ( 1981), Knightriders, USA:: Laurel Productions, United Film Distribution Company;.
     [Google Scholar]
  73. Romero, G. A.. ( 1982), Creepshow, USA:: Laurel Entertainment, United Film Distribution Company;.
     [Google Scholar]
  74. Romero, G. A.. ( 1985), Day of the Dead, USA:: Laurel Entertainment, United Film Distribution Company;.
     [Google Scholar]
  75. Rosenbaum, J.. ( 1973;), ‘ Raymond Durgnat. ’, Film Comment, 9:3, May–June, pp. 65–68.
     [Google Scholar]
  76. Rubinstein, R. P.. ( 1973;), ‘ Update on George (“Night of the Living Dead”) Romero: Or, what happens after your first successful film?. ’, Filmmakers Newsletter, 6:8, pp. 22–24.
     [Google Scholar]
  77. Russo, J.. ( 1982), Midnight, USA:: Congregational Productions, Independent International Pictures;.
     [Google Scholar]
  78. Russo, J.. ( 2012), The Complete Night of the Living Dead Filmbook: How We Made & Marketed a Horror Classic!, Charleston, SC:: CreateSpace;.
     [Google Scholar]
  79. Schatz, T.. ( 2004;), ‘ General introduction. ’, in T. Schatz. (ed.), Hollywood: Critical Concepts in Media and Cultural Studies, Volume One – Historical Dimensions: The Development of the American Film Industry, London:: Routledge;, pp. 1–22.
     [Google Scholar]
  80. Seligson, T.. ( 2011;), ‘ George Romero: Revealing the monsters within us. ’, in T. Williams. (ed.), George A. Romero: Interviews, Jackson, MS:: University Press of Mississippi;, pp. 74–87.
     [Google Scholar]
  81. Spicer, A.,, McKenna, A. T., and Meir, C.. ( 2014;), ‘ Introduction. ’, in A. Spicer,, A. T. McKenna, and C. Meir. (eds), Beyond the Bottom Line: The Producer in Film and Television Studies, New York:: Bloomsbury;, pp. 1–24.
     [Google Scholar]
  82. Stein, E.. ( 1970;), ‘ Review: The Night of the Living Dead. ’, Sight & Sound, 39:2, p. 105.
     [Google Scholar]
  83. Strawn, L. M.. ( 1975;), ‘ Samuel Z. Arkoff. ’, in T. McCarthy, and C. Flynn. (eds), Kings of the Bs: Working within the Hollywood System, Boston, MA:: E. P. Dutton & Co, Inc;., pp. 255–65.
     [Google Scholar]
  84. Surmacz, G. A.. ( 1975;), ‘ Anatomy of a horror film. ’, Cinefantastique, 4:1, pp. 14–27.
     [Google Scholar]
  85. Szwarc, J.. ( 1978), Jaws 2, USA:: Universal Pictures;.
     [Google Scholar]
  86. Thomas, B.. ( 1979;), ‘ An X rated movie without even a kiss. ’, Anniston Star, 7 July, p. 40.
     [Google Scholar]
  87. Wasko, J.. ( 2004;), ‘ The political economy of film. ’, in T. Miller, and R. Stam. (eds), A Companion to Film Theory, Malden, MA:: Blackwell Publishing;, pp. 221–33.
     [Google Scholar]
  88. Williams, L.. ( 1991;), ‘ Film bodies: Gender, genre, and excess. ’, Film Quarterly, 44:4, pp. 2–13.
     [Google Scholar]
  89. Wood, R.. ( 1979;), ‘ An introduction to the American horror film. ’, in A. Britton,, R. Lippe,, T. Williams, and R. Wood. (eds), The American Nightmare, Toronto:: Festival of Festivals;, pp. 7–28.
     [Google Scholar]
  90. Wood, R.. ( 1980;), ‘ Neglected nightmares. ’, Film Comment, 16:2, pp. 24–32.
     [Google Scholar]
  91. Wood, R.. ( 2003), Hollywood from Vietnam to Reagan … and Beyond, New York:: Columbia University Press;.
     [Google Scholar]
  92. Wood, R.. ( 2006), Personal Views: Explorations in Film, rev. ed., Detroit, MI:: Wayne State University Press;.
     [Google Scholar]
  93. Wylie, W. H.. ( 1972;), ‘ Pittsburghers steal a scene from Hollywood movie moguls. ’, Pittsburgh Press, 12 March, p. D–12.
     [Google Scholar]
  94. Young, R. M.. ( 1977), Alambrista!, USA:: Filmhaus, PBS, First Run Features;.
     [Google Scholar]
  95. Zimmerman, P. D.. ( 1971;), ‘ We killed ‘em in Pittsburgh. ’, Newsweek, 8 November, p. 118.
     [Google Scholar]
  96. Fallows, Tom. ( 2021;), ‘ Independent dreams, American nightmares: Industrial transgression and critical organization in the work of George A. Romero. ’, Horror Studies, 12:1, pp. 45–62, doi: https://doi.org/10.1386/host_00028_1
     [Google Scholar]
http://instance.metastore.ingenta.com/content/journals/10.1386/host_00028_1
Loading
  • Article Type: Article
Keyword(s): American independent cinema; authorship; film criticism; George A. Romero; media industries; Robin Wood

Most Cited Most Cited RSS feed

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error