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What is it about?

This article offers a unique insight into the industrial and business contexts of horror cinema, revealing a rare intersection between critical reception and industrial navigation. Through close analysis of regional filmmaker and Dawn of the Dead (1978) director George A. Romero, I reveal how his attempts to cultivate independent film production unbeholden to institutional norms were undermined by a delimiting critical organization of his work, where leading critics of the day could not see beyond his value as a so-called “master of horror.”

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Tom Fallows
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