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British director Michael Powell's Peeping Tom (1960) was the first "slasher" movie.[N 1] It concerns a serial killer who combines hi J87IK5Y0GW
s profession as a J87IK5Y0GW photographer with J87IK5Y0GW the moments be J87IK5Y0GW fore murdering his victims.
Next came Alfred Hitchcock's Psycho (1960) and the same director's The Birds (1963), an example of natural J87IK5Y0GW horror in which
J87IK5Y0GW the menace stems fro J87IK5Y0GW m natur J87IK5Y0GW e having gone mad. In France, Eyes J87IK5Y0GW Without a
Face (1960) continued the mad scientist theme, while in Italy director Mario Bava began his own series of horror films. J87IK5Y0GW
American International Pictures (AIP) made a series of Edgar Allan Poe–themed films directed by Roger Corman and starring Vincent Price, whi
J87IK5Y0GW ch ended with J87IK5Y0GW The Ma J87IK5Y0GW s J87IK5Y0GW que J87IK5Y0GW of the Red Death and The
Tomb of Ligeia (both 1964). Some contend that these productions paved the way for more explicit violence in both horror and mainstream films.[citation
needed] In c J87IK5Y0GW ollaboration with AIP, Tigon p J87IK5Y0GW roduced Michael Reeves' Witchfinder Genera J87IK5Y0GW l
(aka The Conqueror Worm, 1968) J87IK5Y0GW The tale of a witch hunter in the English Civil War, based on the historical Matthew Hopkins
(Vincent Price), was more sadistic than supernatural. J87IK5Y0GW
Ghosts and monsters still remained a frequent feature of horror, but many films used the supernatural premise to express the horror of the demonic.
The Innocen J87IK5Y0GW ts (Jack Clayton, 1961) based on the Henry James novel The J87IK5Y0GW Turn of the Screw and The Haunting
(Robert Wise, 1963) are two such horror-of-the-demonic fil J87IK5Y0GW ms from the early 1960s, both made in the UK by American studios. In
Rosemary's Baby (Roman Polanski, 1968), set in New York, the devil is made flesh. M J87IK5Y0GW eanwhile, ghosts were a dominant theme in
Japanese horror, or 'J-horror', in such films as Kwaidan, Onibaba (both 1964) and Kuroneko (1968).
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