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).

Hawkins builds off of Jeffrey Sconce’s discussion of “paracinema” and “trash aesthetics” to explore the historical relationship between “high-end” avant-garde or art cinema and “low brow” horror and exploitation films. Hawkins seeks to break down the boundaries erected between “high” and “low” by demonstrating the shared stake that both horror and the avant-garde have in challenging mainstream notions of good taste and dominant Hollywood productions. The most interesting aspect of the book is her exploration of mail-order video companies such as Sinister Cinema and Something Weird Video whose photocopied “DIY” catalogs in the 1980s served as a collective space of horror and cult fandom long before the Internet. These catalogs tended to mix cheap exploitation and European art fare often with little distinguishing between the two. The second chapter of the book (“Medium Cool”) explores the culture of collecting inherent in both paracinema video culture and the niche market for Criterion Collection laser discs. Hawkins’s work is important as it captures a particular historical moment, but it also feels woefully out of date. This is not a critique of the book as much as a call for a revised edition that explores paracinema in the digital age (e.g., blogs, fan forums, web mail-order sites, etc.). In addition to patterns of consumption which blur the boundaries between “high” and “low” art, Hawkins explores a number of films which form a sort of hybrid category by combining aspects of art cinema with the horror genre. Her prime example is Georges Franju’s Eyes Without a Face (1959) which combines the formal aesthetics of French “poetic realism” with an exploitation story—and graphic gore—many consider as ushering in (along with Hitchcock’s Psycho [1960]) the slasher subgenre. Ironically, when the U.S. imported Franju’s film to play in the “grindhouse” circuit with the sensational new title of The Horror Chamber of Dr. Faustus, they excised the graphic “face removal” surgical scene which most qualified the film as horror in the first place.

Hawkins’s book provides a useful exploration of how genres circulate within culture often in ways that defy “officially” sanctioned categories and counter to the wishes and intentions of institutions, gatekeepers, and other “taste-makers.”