Results 131 to 140 of about 673 (193)
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2016
The first book-length academic investigation of Italian horror cinema, from the silent era to the present, this collection brings together for the first time a range of contributions aimed at a new understanding of the genre, investigating the different phases in its history, the peculiarities of the production system, the work of its most ...
Baschiera, Stefano, Hunter, Russ
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The first book-length academic investigation of Italian horror cinema, from the silent era to the present, this collection brings together for the first time a range of contributions aimed at a new understanding of the genre, investigating the different phases in its history, the peculiarities of the production system, the work of its most ...
Baschiera, Stefano, Hunter, Russ
exaly +3 more sources
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.
Chibnall, S., Petley, J.
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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.
Chibnall, S., Petley, J.
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Pearls and Pitfalls in the Horror Cinema
Seminars in Neurology, 1998Observations on the neurologic signs and symptoms of Count Dracula, Wolfman, and Frankenstein's Monster are presented as viewed by a specialist in neuromuscular disease. Key clinical features of these horror movie figures illustrate a variety of pearls in the diagnosis of a variety of neurologic disorders, including porphyria, lead poisoning ...
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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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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.
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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.
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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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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
openaire +1 more source