By: Joshua Glenn

A scene from THE MAN WHO KNEW TOO MUCH (1934)

By: David Smay

The boundary between uncanny and uncanny-­fantastic is a difficult one.

By: David Smay

Liminal Horror movies — between the super­natural and the every­day.

By: David Smay

Why are horror movies from 1960-63 so resistant to critical analysis?

By: Joshua Glenn

A scene from FOR THOSE WHO THINK YOUNG (1964)

By: Joshua Glenn

A scene from BEACH PARTY (1963)

By: Joshua Glenn

A scene from GONE WITH THE WIND (1939)

By: Joshua Glenn

A scene from THE ASPHALT JUNGLE (1950)

By: Joshua Glenn

A scene from THE GUV’NOR (1935)

By: Joshua Glenn

A scene from THUNDERBALL (1965)

By: Joshua Glenn

A scene from WILD IN THE STREETS (1968)

By: Joshua Glenn

A scene from STRIPES (1981)

By: Joshua Glenn

A scene from THE LADY VANISHES (1938)

By: Joshua Glenn

A scene from THE LITTLE PRINCESS (1939)

By: Joshua Glenn

A scene from CLAMBAKE (1967)