Results 211 to 220 of about 185,539 (272)
Contemporary British Horror Cinema
, 2015 Combining industrial research and primary interview material with detailed textual analysis, Contemporary British Horror Cinema looks beyond the dominant paradigms which have explained away British horror in the past, and sheds light on one of the most ...
Johnny Walker
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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.
openaire +1 more source
Tracing dental horror in contemporary American cinema
Horror StudiesHorrific scenes of dental torture, as well as dental loss and decay, hold a viscerally disturbing quality. Focusing on human teeth – whether deciduous or permanent – I argue that dental horror has been pervasive in horror cinema, albeit seldom used as a ...
A. Marini
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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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Canadian Review of American Studies
:By connecting Theodor Adorno’s negative dialectics to Edvard Munch’s concepts of artistic form, this study demonstrates the horror aesthetic in cinematic narrative structures that culminate toward discomforting endings. Negative dialectics is applicable
Brent Yergensen
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:By connecting Theodor Adorno’s negative dialectics to Edvard Munch’s concepts of artistic form, this study demonstrates the horror aesthetic in cinematic narrative structures that culminate toward discomforting endings. Negative dialectics is applicable
Brent Yergensen
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Horror in Finnish children’s cinema and film literacy: A case study of Iris
Journal of Scandinavian CinemaThis article focuses on the cultural and aesthetic meanings of horror elements in Finnish children’s cinema, situating it within a Nordic context.
Marjo Kovanen
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Gender and Contemporary Horror in Film, 2019
Since 2004, Turkish cinema has been witnessing an emergence of horror genre, now flooded with stories of possession by malevolent jinn, as transgressive, volatile figures of abjection.
Zeynep A Koçer
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Since 2004, Turkish cinema has been witnessing an emergence of horror genre, now flooded with stories of possession by malevolent jinn, as transgressive, volatile figures of abjection.
Zeynep A Koçer
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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
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.
openaire +1 more source