In Robert Spadoni’s book “Uncanny Bodies” the author argues that the U.S. film industry’s acceptance of sound technology was one of the key contributing factors in establishing the modern horror genre. Sound became a method by which films sought out and experimented with new ways of engaging and potentially growing their audience. Certainly no cinematic form held more potential for this then those with high spectacle, fantastic elements.
For most of Jesús Franco’s first 15 years of filmmaking he was contending with a powerful set of artistic limitations manifest most precisely in the fascist rule of Francisco Franco. While Jess, as he is more commonly known, left Spain for more habitable film production locales the specter of Franco’s rule seems to revel itself in the director’s oppositional, iconoclastic relationship with cinema censors.