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Beyond the forest: Terence Fisher and Transylvania

Abstract This article considers the ways in which a range of films (made between 1957 and 1974) by British director Terence Fisher represented Europe in general, and Transylvania in particular. Fisher was able to take advantage of laisser-faire managerial conditions at Hammer in the 1950s, and the studio itself profited from the economic and legislative changes in 1950s British cinema. Fisher was able to gain a modicum of control over the scripting and editing processes, and, because he shared the aesthetic approach of his art director Bernard Robinson, was able to make a series of films which had the same visual style and approach to cinematic and geographical space. Fisher's Transylvania films worked by stripping the protagonists' demeanour bare, and by using irony and disavowal as a means of presenting an imaginary country where the audience's national, social and sexual fears could be safely explored.