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"Much of madness, and more of sin" : Vincent Price, gender, and the Poe cycle, 1960-1972 /

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dc.contributor.author Lampley, Jonathan en_US
dc.date.accessioned 2014-06-20T16:23:55Z
dc.date.available 2014-06-20T16:23:55Z
dc.date.issued 2007 en_US
dc.identifier.uri http://jewlscholar.mtsu.edu/handle/mtsu/3958
dc.description Adviser: Linda Badley. en_US
dc.description.abstract For generations of moviegoers, the name Vincent Price (1911-1993) remains synonymous with horror and suspense. Between 1960 and 1972, Vincent Price appeared in a series of thirteen Edgar Allan Poe adaptations for American International Pictures (AIP). Various articles in both popular and academic journals offer intriguing interpretations of specific films, but thematic analysis of Vincent Price's body of work is virtually non-existent. Much of Madness, More of Sin: Vincent Price, Gender, and the Poe Film Cycle, 1960-1972 posits that the Poe cycle's depiction of women as villains, vixens, and objects of veneration, as well as Price's onscreen persona as a "camp" icon, challenged traditional gender norms during the sexual revolution of the 1960s. en_US
dc.description.abstract This study, which is divided into ten chapters, explores the often ambivalent constructions of the cycle's male and female characterizations. At the same time, it argues that the films are not always "campy" in the sense of exaggerated self-mockery that other critics have claimed. In fact, the cycle demonstrates a surprising degree of fealty to the source material, implying both a fidelity to the spirit of Poe's output and an acknowledgment of gender ambivalence in the writer's fiction and poetry that makes the films effective vehicles of adaptation. en_US
dc.description.abstract Chapter I provides relevant biographical information on Price, Poe, and founding Poe cycle producer/director Roger Corman and discusses the theories of critics Judith Butler, Barbara Creed, and Harry M. Benshoff that inform the study. Chapters II through VII examine six Poe adaptations directed by Corman between 1960 and 1965, the films that influenced Price's public persona long after the series abandoned any direct connection to Poe's material and featured many examples of contradictory and even subversive gender performance. Chapter VIII analyzes The Conqueror Worm (1968) and traces the influence of this acclaimed film and director Michael Reeves on the remaining entries in the series, helmed by Gordon Hessler. Of particular interest is how this film positions Price as a misogynistic Puritan witch hunter, foreshadowing the later feminist reading of the witch trial phenomenon as a mass repression of emerging female independence. Chapter IX discusses six productions that exist outside the established Corman and Reeves/Hessler "universes" but still feature Price, referencing the actor's familiar persona while continuing to challenge traditional masculine and feminine roles. Chapter X concludes the study by enumerating thematic similarities, such as the lack of male offspring among Price's characters in the series and the reoccurring motif of the ambiguously gendered protagonists (both male and female), that link the various films into an organic and interrelated whole, suggesting an overarching worldview derived as much from the iconography of Poe as from the details of his output. en_US
dc.publisher Middle Tennessee State University en_US
dc.subject.lcsh Price, Vincent, 1911-1993 en_US
dc.subject.lcsh Poe, Edgar Allan, 1809-1849 Film and video adaptations en_US
dc.subject.lcsh Horror films History and criticism en_US
dc.subject.lcsh Sex role in motion pictures en_US
dc.subject.lcsh Literature, American en_US
dc.subject.lcsh Cinema en_US
dc.subject.lcsh Gender Studies en_US
dc.title "Much of madness, and more of sin" : Vincent Price, gender, and the Poe cycle, 1960-1972 / en_US
dc.type Dissertation en_US
dc.thesis.degreelevel Doctoral en_US
dc.thesis.degreegrantor Middle Tennessee State University en_US
dc.description.degree Ph.D. en_US
dc.contributor.department English en_US


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