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Creepshow$
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Simon Brown

Print publication date: 2019

Print ISBN-13: 9781911325918

Published to Liverpool Scholarship Online: February 2021

DOI: 10.3828/liverpool/9781911325918.001.0001

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 15 May 2021

The Reception of Creepshow

The Reception of Creepshow

Chapter:
(p.81) 6: The Reception of Creepshow
Source:
Creepshow
Author(s):

Simon Brown

Publisher:
Liverpool University Press
DOI:10.3828/liverpool/9781911325918.003.0007

This chapter analyses the reception of George A. Romero's Creepshow (1982). Creepshow, in spite of the involvement of Romero and Tom Savini, and also Stephen King's stated desire to make a film so scary that people would ‘literally crawl out of the theatre’, stands apart from the splatter/slash/body horror/gore traditions of early 1980s horror cinema. This did not however prevent the film from being criticised for its violence. Given the moderate levels of violence actually in the film, the fact that Creepshow was criticised for its violence was more likely to do with the reputation of its producer and director rather than its content. Creepshow was a milder form of the kind of horrors that Romero had explored in his previous work. It also lacked the overt, angry social commentary about militarism, racism, poverty, urban decline, and consumerism that had categorised his prior horror output. Although social commentary was present in the form of Romero and King's critique of wealth, greed, and consumption, like the violence, it appeared in Creepshow in a much subtler form.

Keywords:   George A. Romero, Creepshow, Tom Savini, Stephen King, 1980s horror cinema, violence, horror film, social commentary

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