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Acknowledgments
While writing this text, I have had the privilege to work with superb scholars, including some enthusiastic and insightful students at six universities. Chapter 16 stems from my work at the University of Sussex with John Whitley, Emeritus Reader in American Literature. Professor George McKay, University of Salford, helped in formulating earlier related work, and I am grateful for this. I am also thankful for the informal input of two other former colleagues, Dr. Stephen Jones, University of Manchester, and Dr. Richard Walker. I appreciate the work of students on my horror film course at the University of Central Lancashire, where some of the ideas here arose, and those on my introductory film module at the University of Hertfordshire. I am indebted to colleagues at St. Martin’s College Lancaster, now the University of Cumbria, particularly to Dr. Hugh Cutler, Dean of Research, and others on the board of the Research and Scholarship Fund. I also wish to thank colleagues in the School of Humanities and beyond at the University of Derby for creating a stimulating and enjoyable environment within which to teach and research, particularly Colin Dyter. I appreciate the encouragement of