Results 201 to 210 of about 78,165 (250)
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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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2009
Horror is one of the most enduring and controversial of all cinematic genres. Horror films range from the subtle and the poetic to the graphic and the gory but what links them all is their ability to frighten, disturb, shock, provoke, delight, irritate, amuse, and bemuse audiences.
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Horror is one of the most enduring and controversial of all cinematic genres. Horror films range from the subtle and the poetic to the graphic and the gory but what links them all is their ability to frighten, disturb, shock, provoke, delight, irritate, amuse, and bemuse audiences.
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Abstract This chapter examines the complex relationship between Judaism and horror cinema, distinguishing between films that merely feature Jewish characters and those that engage substantively with Jewish folklore and cosmology. While Jews often appear marginally in Christian-centric horror films like The Exorcist (1973) and The Omen
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Fear in the Cinema and the Definition of Horror
2021This chapter presents the view that horror’s principal differentiating function is to induce fear. Some of the worries that have been noted in the literature regarding this thesis are dispelled. Topics considered include the distinction between “pure” and “hybrid” forms of the genre, the multifarious import of representations of violence and gore, and ...
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A History of Animal Horror Cinema
2015In 1887, French sculptor Emmanuel Fremiet’s Gorille enlevant une femme (Gorilla carrying off a woman) was awarded the prestigious Medal of Honor when it was first exhibited in Paris. The life-sized bronze sculpture shows a gorilla clutching a naked, struggling woman to his right side.
Katarina Gregersdotter +2 more
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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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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
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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
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The Narrative in Horror Cinema
2012The paper focuses on the narrative in horror cinema. Certain similarities, patterns and differences in horror plots, as well as the narrative techniques and elements that horror movies consist of, will be displayed and analyzed. The different narrative techniques used in horror films will be explained and corroborated with examples.
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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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