Berenstein analyzes film reviews and marketing ploys during the first cycle of classic Hollywood horror films (1931-1934) concluding that the horror film served as an ideal site for the "performance"of socially prescribed gender roles, behaviors, and heterosexual coupling rituals. Film studios, exhibitors,and reviewers relied upon gender assumptions, but in contradictory ways. Many film reviwers ignored questions of gender all together treating the horror film audience as an "ungendered" mass, while other reviews expressed surprise that horror films would be as popular with women as they were. The marketing and promotion of horror films, however, rarely took women for granted. Many horror films--such as Dracula (1931)--were promoted as frightening thrillers and romances hoping to appeal to both male and female audiences (assuming a gendered split in interest). Horror film promotional gimmicks took a variety of forms, but many revolved around personifying "fear" as feminine. Gender expectations were that women scream and shriek during horror films, while men displayed bravery (or, masked their own fear which was seen as feminine). If studios and exhibitors (and the films themselves) relied on these assumed gender roles, it's likely that audiences both played along with these assumptions (in a "performative" sense) as well as reactedin oppositional and contradictory ways. There are some issues with Berenstein work. She seemst o implicitly criticize 1930s film reviewers for speaking of the "horror fan" instead of the "female" (or "male") horror fan. While acknowledging that issues of gender are important, speaking of the "female" horror fan is itself not without problems. For one, it also assumes (and thereby reinforces) a gendered difference in audience reactions to horror. While this difference may be true (to some degree, in some ways) it is an empirical question. Although Berenstein acknowledges a space for male and female audience members to act and react outside of proscribed gender roles, she does so only grudgingly.

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).

David Bordwell, Kristin Thompson, and Janet Staiger have provided the canonical and definitive study of the Hollywood film industry of the classical era--approximately 1917 to 1960. As the subtitle to the book indicates, this study looks at the intersection of film style and modes of production (including technology, business models, studio ownership, technical craft, etc.) and generally argues that the studio era of Hollywood is marked by a fairly coherent aesthetic system and consistent style which the modes of production worked to reinforce. According to Bordwell, the classical style does not consist of iron-clad rules, but rather offers a paradigm of "bounded alternatives" from which filmmakers can choose allowing individual creativity while still reinforcing the overall aesthetic system. Additionally, the system is flexible enough to incorporate stylistic innovations into its own schemata--for example, German Expressionism was incorporated into both the horror films of the 1930s and the cycle of film noir in the 1940s and 50s. The book is extensively researched, highly detailed, and very useful for anyone researching Hollywood cinema. The approach to this book is based in industrial history and formal aesthetic analysis of films--it is not a cultural studies text nor does it engage critical theory is any sustained way (which is part of its strength). However, nothing prevents one from applying the insights from Bordwell, Thompson, and Staiger to a cultural studies project. If you are looking for a more cultural history of Hollywood, then Robert Sklar's Movie-made America: A Cultural History of American Movies is a good bet.