Results 131 to 140 of about 631 (189)
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2018
An introduction to what the book defines as exploitation-horror – tracing the term back to Robin Wood and discussing how the style of this demarcation might be seen to hold similar aesthetic and thematic pretensions to that of the post-classical sexploitation movement. Historic appreciation of the key films is introduced alongside how some of the films
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An introduction to what the book defines as exploitation-horror – tracing the term back to Robin Wood and discussing how the style of this demarcation might be seen to hold similar aesthetic and thematic pretensions to that of the post-classical sexploitation movement. Historic appreciation of the key films is introduced alongside how some of the films
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2018
Dumplings stuffed with diabolical fillings. Sword-wielding zombies. Hopping cadavers. Big-head babies. For decades, Hong Kong cinema has served up images of horror quite unlike those found in other parts of the world. In seminal films such as A Chinese Ghost Story , Rouge
Gary Bettinson, Daniel Martin
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Dumplings stuffed with diabolical fillings. Sword-wielding zombies. Hopping cadavers. Big-head babies. For decades, Hong Kong cinema has served up images of horror quite unlike those found in other parts of the world. In seminal films such as A Chinese Ghost Story , Rouge
Gary Bettinson, Daniel Martin
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Cultural Studies, 2018
Over the last few years, increasing scholarly attention has been dedicated to the relationship between ecocriticism and the horror genre.
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Over the last few years, increasing scholarly attention has been dedicated to the relationship between ecocriticism and the horror genre.
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Film Quarterly, 1993
devours all it touches, its voracious appetite rarely fulfilled. Yet violence doesn't only destroy; it creates and molds as well. Let's examine closely, then, this dangerously evil creation, this new breed encased and contained within the supple skin of Woman.
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devours all it touches, its voracious appetite rarely fulfilled. Yet violence doesn't only destroy; it creates and molds as well. Let's examine closely, then, this dangerously evil creation, this new breed encased and contained within the supple skin of Woman.
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2019
Aimed at teachers and students new to the subject, this book is a comprehensive survey of the genre from silent cinema to its twenty-first century resurgence. Structured as a series of thirteen case studies of easily accessible films, it covers the historical, production, and cultural context of each film, together with detailed textual analysis of key
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Aimed at teachers and students new to the subject, this book is a comprehensive survey of the genre from silent cinema to its twenty-first century resurgence. Structured as a series of thirteen case studies of easily accessible films, it covers the historical, production, and cultural context of each film, together with detailed textual analysis of key
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2022
A review of how horror cinema influenced Scorsese’s filmmaking from his early shorts up to Goodfellas, his film before Cape Fear. Using Scorsese’s 11 favourite horror movies as a foundation, the chapter identifies recurring motifs in his filmography that also routinely appear in horror films, including guilt, sexual dread and violence, religious dread,
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A review of how horror cinema influenced Scorsese’s filmmaking from his early shorts up to Goodfellas, his film before Cape Fear. Using Scorsese’s 11 favourite horror movies as a foundation, the chapter identifies recurring motifs in his filmography that also routinely appear in horror films, including guilt, sexual dread and violence, religious dread,
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2017
This chapter establishes that Roman Polanski's Macbeth used the conventions of the horror genre to represent William Shakespeare's play on screen. It considers how Macbeth is placed in the wider historical context of the horror genre itself. It also examines how Macbeth fits with the Folk Horror The Wicker Man (1973) or slasher classic Halloween (1978)
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This chapter establishes that Roman Polanski's Macbeth used the conventions of the horror genre to represent William Shakespeare's play on screen. It considers how Macbeth is placed in the wider historical context of the horror genre itself. It also examines how Macbeth fits with the Folk Horror The Wicker Man (1973) or slasher classic Halloween (1978)
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2012
When I think of the first time I saw The Exorcist (dir. William Friedkin, Warner Bros. 1973), it is the smell that I recall most clearly: musty, close, with a cloying sweetness that hangs on the edge like mist. Even now, decades later, whenever I screen this classic film for a course, my sense-memory kicks in and I am back in the E.W.
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When I think of the first time I saw The Exorcist (dir. William Friedkin, Warner Bros. 1973), it is the smell that I recall most clearly: musty, close, with a cloying sweetness that hangs on the edge like mist. Even now, decades later, whenever I screen this classic film for a course, my sense-memory kicks in and I am back in the E.W.
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2001
List of illustrations. Notes on contributors. Acknowledgements. 1. The Return of the repressed? British Horror's heritage and future Steve Chibnall and Julian Petley 2. The British censors and horror cinema Mark Kermode 3. 'A crude sort of entertainment for a crude sort of audience': the British critics and horror cinema Julian Petley 4.
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List of illustrations. Notes on contributors. Acknowledgements. 1. The Return of the repressed? British Horror's heritage and future Steve Chibnall and Julian Petley 2. The British censors and horror cinema Mark Kermode 3. 'A crude sort of entertainment for a crude sort of audience': the British critics and horror cinema Julian Petley 4.
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Recovering 1940s Horror Cinema
2014The 1940s is a lost decade in horror cinema, undervalued and written out of most horror scholarship. This collection revises, reframes, and deconstructs persistent critical binaries that have been put in place by scholarly discourse to label 1940s horror as somehow inferior to a “classical” period or “canonical” mode of horror in the 1930s, especially ...
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