The MummyPub Date : 2019-09-10DOI: 10.3828/liverpool/9781911325956.003.0009
Doris V. Sutherland
{"title":"Conclusion","authors":"Doris V. Sutherland","doi":"10.3828/liverpool/9781911325956.003.0009","DOIUrl":"https://doi.org/10.3828/liverpool/9781911325956.003.0009","url":null,"abstract":"This concluding chapter addresses the recurring themes of ancient Egypt and the mummy in popular culture. The treasures of Tutankhamun had been unpacked and examined by the public, directly or through reproduced images. These images are those of age-old artefacts, pharaohs, Egyptian princesses, and mummies. The names of the principal characters change: sometimes they are Imhotep and Anck-es-en-Amon, other times Kharis and Ananka, but they are always recognisable. Moreover, these characters return in many different forms. Ultimately, the living mummy has joined the vampires, the zombies, the knife-gloved killers, the ghost girls in TV sets, and all those other monsters created in horror films.","PeriodicalId":105941,"journal":{"name":"The Mummy","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117043472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The MummyPub Date : 2019-09-10DOI: 10.2307/j.ctv138417x.9
{"title":"Conversations with The Mummy:","authors":"","doi":"10.2307/j.ctv138417x.9","DOIUrl":"https://doi.org/10.2307/j.ctv138417x.9","url":null,"abstract":"","PeriodicalId":105941,"journal":{"name":"The Mummy","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126357435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The MummyPub Date : 2019-09-10DOI: 10.3828/liverpool/9781911325956.003.0002
Doris V. Sutherland
{"title":"Literary Precursors","authors":"Doris V. Sutherland","doi":"10.3828/liverpool/9781911325956.003.0002","DOIUrl":"https://doi.org/10.3828/liverpool/9781911325956.003.0002","url":null,"abstract":"This chapter discusses the portrayal of mummies and ancient Egypt in fantastic literature. While not necessarily the basis of a coherent subgenre, mummies were a recurring theme in the supernatural literature of the nineteenth and early twentieth centuries as authors of the fantastic found their imaginations fired by the latest developments in Egyptology. Stories from this period often differ significantly from the mummy films that would later develop in Hollywood, but certain aspects of them are nonetheless echoed by Universal Pictures' subgenre-defining 1932 film The Mummy. The chapter then describes haunted mummies and walking mummies. There are three writers in particular who stand out as the most likely influences upon Universal's The Mummy: Bram Stoker, Arthur Conan Doyle, and H. Rider Haggard.","PeriodicalId":105941,"journal":{"name":"The Mummy","volume":"126 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128056649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The MummyPub Date : 2019-09-10DOI: 10.2307/j.ctv138417x.8
Doris V. Sutherland
{"title":"Horror and Fantasy in The Mummy","authors":"Doris V. Sutherland","doi":"10.2307/j.ctv138417x.8","DOIUrl":"https://doi.org/10.2307/j.ctv138417x.8","url":null,"abstract":"This chapter explores the horror and fantasy in The Mummy (1932). Universal Pictures' treatments of the vampire and werewolf themes had specific bodies of folklore to draw upon for inspiration, but as The Mummy featured what was for all intents and purposes a new variety of monster, the studio had a blank slate. The film not only introduced audiences to the living mummy Imhotep but also transported them to an entire world of gods, magic, and curses. As well as taking inspiration from weird fiction and popular Egyptology, The Mummy frequently uses contemporary horror films as reference points, synthesising both old and new to create the latest movie monster. In doing so, it established most of the conventions that would be re-used in later mummy films.","PeriodicalId":105941,"journal":{"name":"The Mummy","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121448879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The MummyPub Date : 2019-09-10DOI: 10.2307/j.ctv138417x.10
Doris V. Sutherland
{"title":"The Legacy of The Mummy","authors":"Doris V. Sutherland","doi":"10.2307/j.ctv138417x.10","DOIUrl":"https://doi.org/10.2307/j.ctv138417x.10","url":null,"abstract":"This chapter highlights the legacy of The Mummy (1932). Ever since the 1930s, the plot elements and iconography of the film have been re-used, re-interpreted, and re-worked in myriad forms. Universal Pictures' follow-ups to The Mummy began eight years after the original film came out, by which time the studio's horror output had lost some of its spark from the early half of the 1930s. First came The Mummy's Hand in 1940, then The Mummy's Tomb in 1942 and The Mummy's Ghost and The Mummy's Curse in 1944. Eventually, Britain's Hammer Films obtained full remake rights to the Universal horror filmography. The chapter then looks at other mummy films made outside Universal and Hammer. In the era of franchise blockbusters, The Mummy remains a viable cinematic brand. While the original Universal Mummy series ended in 1955 and the Hammer revival in 1971, the 1990s saw Universal attempt to recreate The Mummy for a new generation.","PeriodicalId":105941,"journal":{"name":"The Mummy","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125762210","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The MummyPub Date : 2019-09-10DOI: 10.2307/j.ctv138417x.6
Doris V. Sutherland
{"title":"The Makers of The Mummy","authors":"Doris V. Sutherland","doi":"10.2307/j.ctv138417x.6","DOIUrl":"https://doi.org/10.2307/j.ctv138417x.6","url":null,"abstract":"This chapter evaluates the visual fields of direction, performances, and effects in the making of The Mummy (1932). While it was Richard Schayer and Nina Wilcox Putnam who laid out the earliest version of The Mummy's storyline, it was John L. Balderston who reworked it from a muddled mixture of magic and mad science to a narrative that defined a subgenre. The chapter considers Karl Freund's directorial approach to The Mummy. Freund's approach to the fantastic is subtle and understated; nowhere is this clearer than in the iconic prologue, where the mummy is largely out-of-shot following the initial close-ups of its opening eyes and languid arm movements. Many filmmakers would have shown the mummy's actions directly, but Freund understood that powerful images could be created through restraint, allowing the viewer's imagination to fill in the details. The chapter then looks at the performances of Boris Karloff, Zita Johann, and Edward Van Sloan. It also highlights the role of Universal Pictures' resident cosmetic genius, film make-up artist Jack Pierce.","PeriodicalId":105941,"journal":{"name":"The Mummy","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133893378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The MummyPub Date : 2019-09-10DOI: 10.3828/liverpool/9781911325956.003.0007
Doris V. Sutherland
{"title":"Conversations with The Mummy: Critical Reactions","authors":"Doris V. Sutherland","doi":"10.3828/liverpool/9781911325956.003.0007","DOIUrl":"https://doi.org/10.3828/liverpool/9781911325956.003.0007","url":null,"abstract":"This chapter describes the critical reception of The Mummy (1932). When the film was screened, professional film critics were intrigued by the central figure of Boris Karloff, the actor who had been transformed into a living mummy. The Los Angeles Times even offered a prescient take that foresaw Karloff's future place in the film pantheon. As for the film itself, however, the critical reception was more lukewarm. Critics who had grown tired of horror cinema found little in The Mummy to change their opinions. The chapter then looks at re-evaluations and later evaluations of the film. Critics continue to find weaknesses, but they also continue to find rewarding new ways of approaching The Mummy. On the whole, The Mummy has managed to stand firm despite early critical indifference and subsequent changes in audience tastes. The film's position as the start of a subgenre has ensured that The Mummy retains immortality as a popular culture artefact.","PeriodicalId":105941,"journal":{"name":"The Mummy","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133048089","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The MummyPub Date : 2019-09-10DOI: 10.2307/j.ctv138417x.7
Doris V. Sutherland
{"title":"The Egypt of The Mummy","authors":"Doris V. Sutherland","doi":"10.2307/j.ctv138417x.7","DOIUrl":"https://doi.org/10.2307/j.ctv138417x.7","url":null,"abstract":"This chapter assesses how The Mummy (1932) approaches ancient Egypt and the ways in which it reflects contemporary attitudes towards the place and era. Although set almost entirely in the Cairo of 1932, The Mummy shows little concern with twentieth-century Egypt; indeed, many of the principal characters are not even Egyptian. In The Mummy, the Egypt of the 1930s is treated merely as a midway point between Western civilisation and the era of the Pharaohs: a land of museums, excavations, archaeologists, and the occasional revived mummy. The chapter then studies how the spectre of Tutankhamun permeates the film. The Mummy appears to have lifted basic details of Tutankhamun's life and worked them into an almost entirely fictitious story. With its themes of death, resurrection, and the afterlife, The Mummy also frequently touches upon ancient Egyptian religion. Finally, there is the phenomenon that originally prompted Universal Pictures to head to Egypt for inspiration: the cursed tomb.","PeriodicalId":105941,"journal":{"name":"The Mummy","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130057788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The MummyPub Date : 2019-09-10DOI: 10.3828/liverpool/9781911325956.003.0003
Doris V. Sutherland
{"title":"From Cagliostro to Imhotep: The Writing Process","authors":"Doris V. Sutherland","doi":"10.3828/liverpool/9781911325956.003.0003","DOIUrl":"https://doi.org/10.3828/liverpool/9781911325956.003.0003","url":null,"abstract":"This chapter examines how The Mummy (1932) took shape at Universal Pictures, and the significant transformations that it underwent along the way. When Howard Carter discovered Tutankhamun's tomb in November of 1922, he started a wave of cultural enthusiasm for all things ancient Egyptian. ‘Tutmania’ had peaked by the start of the 1930s, but it was sufficiently fresh in the public mind for Universal's head of production, Carl Laemmle Jr., to sense a commercial opportunity. And so, in early 1932, Laemmle decided that Universal's next horror film would have an Egyptian theme. The first requirement was to produce a plot, and Laemmle handed this assignment to a pair of writers: Universal scenario department head Richard Schayer, and established novelist Nina Wilcox Putnam. They responded with a nine-page synopsis entitled Cagliostro. Despite its glaring differences from the finished product, the synopsis planted the seed for what would become The Mummy.","PeriodicalId":105941,"journal":{"name":"The Mummy","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127622178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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