In this project I plan to explore the advertising, promotional, and publicity strategies used by studios and distributors to market horror films. I am particularly interested in the marketing strategies employed to market horror in the digital age and will look for both continuities and discontinuities in horror advertising practices across film history. The marketing of horror is, of course, intricately related to other industrial issues such as technology and economic needs, as well as issues related to genre conventions and aesthetics.

This edited collection of essays has the overarching goal of exploring the horror film genre by paying attention to the technical and industrial aspects of film that distinguish horror films from horror in other media (such as literature or comic books). The two general questions that the essays-to one degree or another-address are: what role does technology play in the production of horror films, and what role does technology play in the distribution, exhibition, and reception of horror films? ("technology" defined broadly to include production equipment, industrial mechanisms, ideological mechanisms, etc.). The first section of the book consists of essays that explore various technologies and formal innovations employed in the production of horror films. The second section of the book deals with issues surrounding horror films in the marketplace (advertising, distribution, and reception). Finally, the third section examines discursive and ideological aspects of the horror genre from censorship to fan discourse.

Philip Simpson's chapter entitled "The Horror 'Event' Movie: The Mummy, Hannibal, and Signs" explores horror films as they are positioned as Hollywood blockbusters. These marketing and promotion of these films often downplay or outright deny the film's association with the horror genre (still often seen as a marginal or low brow genre). Simpson argues that these horror 'event' movies reach a larger mainstream audience by using star actors and high profile directors, high production values, and genre mixing. Simpson distinguishes between major studio horror films and "second tier" cult audience films. While it is true that many of the films that Simpson discusses are marketed as something other than horror (either as thrillers, adventure films, or even supernatural thrillers), it is not clear where the division between A-list productions and "second tier" films lies. He cites the $100 million dollar domestic theatrical gross mark as certifying a blockbuster, but fails to cite many of the low budget, independent, or "second tier" horror films that crossed that barrier such as The Blair Witch Project (1999), The Ring (2002), and The Grudge (2004).