Horror cinema flourishes in times of ideological crisis and national traumathe Great Depression, the Cold War, the Vietnam era, post-9/11and this critical text argues that a succession of filmmakers working in horrorfrom James Whale to Jen and Sylvia Soskahave used the genre, and the shock value it affords, to challenge the status quo during these times. Spanning the decades from the 1930s onward it examines the work of producers and directors as varied as George A. Romero, Pete Walker, Michael Reeves, Herman Cohen, Wes Craven and Brian Yuzna and the ways in which films like Frankenstein (1931), Cat People (1942), The Woman (2011) and American Mary (2012) can be considered "subversive."