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This success was followed by a wave of Universal horror movies that shaped the 20th century’s nightmares: The Mummy, Bride of Frankenstein, The Invisible Man, The Wolf Man, The Black Cat, The Old Dark House, and many more.

Opening my tattered copy of “Invisible Man,” the same one I carried with me up those manor house steps more than half my life ago, my notes appear as palimpsest: layers of thinking and rethinking, circles and underlines, question marks and exclamation points written in a riot of pencil and ink.

Driskell could be said to have mirrored what Ralph Ellison probed in his indispensable novel, “The Invisible Man”: the controlling, suffocating power of social and cultural invisibility.

In Ralph Ellison’s “the Invisible Man,” the black protagonist in the book lamented his problem, “It’s not that I am invisible, it is that you refuse to see me.”

Additionally, some studios — including Disney and Universal — have bumped up the digital release dates of several titles, such as the Elisabeth Moss thriller “Invisible Man,” the latest adaptation of Jane Austen’s “Emma” and animated juggernaut “Frozen 2.”