Abstract

Dead of Night (1945) has acquired a privileged place in the history of the British horror films, and this reputation was established early. In one of the first major histories of the horror film, Ivan Butler claimed not only that the film was “Britain’s first significant entry into the sphere of the supernatural,”1 but that it “is difficult to recollect anything in the genre during the silent period” and little of significance before the release of Curse of Frankenstein (1957), “save for Dead of Night.”2

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