This concluding chapter explains that Hammer Films is a true icon of cinema, not only in Britain, but internationally. While the great 'family' studio of the past has gone, Hammer CEO Simon Oakes states that he and his team 'have a family growing here, that's just starting', and there are clearly thematic repetitions across the twenty-first century oeuvre. However, while the old films stuck to very particular conventions, eventually to the point of unoriginality for the sake of profit, Oakes's team have produced a series of individually distinct films, aside from their generic similarity. These new Hammer horrors may not yet have attained the same cult status, and they are clearly products of the contemporary globalised industry, but this certainly does not make them lesser films, and in The Woman in Black (2012) the company scored a bona fide international hit. With much larger budgets, Hammer is now able to indulge in more sophisticated projects.
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