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| horror and the horror film: Horror and the Horror Film Bruce F. Kawin, 2012 Horror films can be profound fables of human nature and important works of art, yet many people dismiss them out of hand. 'Horror and the Horror Film' conveys a mature appreciation for horror films along with a comprehensive view of their narrative strategies, their relations to reality and fantasy and their cinematic power. The volume covers the horror film and its subgenres - such as the vampire movie - from 1896 to the present. It covers the entire genre by considering every kind of monster in it, including the human. |
| horror and the horror film: The Horror Film Rick Worland, 2024-08-08 A lively and reliable narrative account of the horror genre, featuring new and revised material throughout The Horror Film: An Introduction surveys the history, development, and social impact of the genre. Covering American horror cinema from its earliest period to the present, this reader-friendly volume explores the many ways horror movies have been received by filmmakers, critics, and general audiences throughout the decades. Concise, easily accessible chapters describe historical instances of the genre's social reception based on primary research, analyze landmark films such as Frankenstein, Invasion of the Body Snatchers, and The Texas Chain Saw Massacre, and more. Incorporating recent scholarship on the genre, the second edition of The Horror Film contains new discussion and context for Hollywood horror films in the 1980s and 1990s, as well as notable developments in the genre such as “torture porn,” found-footage horror, remakes and reboots of past horror films, zombies, and the “elevated horror” debate. This edition explores the rise of new filmmakers such as Ari Aster, Robert Eggers, and Jordan Peele, surveys horror films made by women and African American filmmakers, and investigates contemporary issues in the production and consumption of horror films. Combining historical narrative with close readings of significant works, The Horror Film: Covers major works in the genre such as Cat People, Halloween, and Bram Stoker's Dracula Examines important antecedents including gothic literature and the Grand Guignol Theater Offers thorough analyses of the style, context, and themes of specific horror milestones Provides examples of close analysis that can be applied to a wide range of other horror films Discusses important representative titles across the genre's evolution, including more recent films such as 2017's Get Out The Horror Film: An Introduction, Second Edition, is an ideal textbook for undergraduate surveys of the horror genre and other courses in American film history, and an invaluable resource for scholars, lecturers, and general readers with an interest in the subject. |
| horror and the horror film: Horror and the Horror Film Bruce F. Kawin, 2012 Horror films can be profound fables of human nature and important works of art, yet many people dismiss them out of hand. 'Horror and the Horror Film' conveys a mature appreciation for horror films along with a comprehensive view of their narrative strategies, their relations to reality and fantasy and their cinematic power. The volume covers the horror film and its subgenres - such as the vampire movie - from 1896 to the present. It covers the entire genre by considering every kind of monster in it, including the human. |
| horror and the horror film: The Horror Film Stephen Prince, 2004 Focusing on recent postmodern examples, this is a collection of essays reviewing the history of the horror film and the psychological reasons for its persistent appeal. |
| horror and the horror film: A Companion to the Horror Film Harry M. Benshoff, 2017-01-17 This cutting-edge collection features original essays by eminent scholars on one of cinema's most dynamic and enduringly popular genres, covering everything from the history of horror movies to the latest critical approaches. Contributors include many of the finest academics working in the field, as well as exciting younger scholars Varied and comprehensive coverage, from the history of horror to broader issues of censorship, gender, and sexuality Covers both English-language and non-English horror film traditions Key topics include horror film aesthetics, theoretical approaches, distribution, art house cinema, ethnographic surrealism, and horror's relation to documentary film practice A thorough treatment of this dynamic film genre suited to scholars and enthusiasts alike |
| horror and the horror film: Horror Films FAQ John Kenneth Muir, 2013-08-01 (FAQ). Horror Films FAQ explores a century of ghoulish and grand horror cinema, gazing at the different characters, situations, settings, and themes featured in the horror film, from final girls, monstrous bogeymen, giant monsters and vampires to the recent torture porn and found footage formats. The book remembers the J-Horror remake trend of the 2000s, and examines the oft-repeated slasher format popularized by John Carpenter's Halloween (1978) and Friday the 13th (1980). After an introduction positioning the horror film as an important and moral voice in the national dialogue, the book explores the history of horror decade by decade, remembering the women's liberation horrors of the 1970s, the rubber reality films of the late 1980s, the serial killers of the 1990s, and the xenophobic terrors of the 9/11 age. Horror Films FAQ also asks what it means when animals attack in such films as The Birds (1963) or Jaws (1975), and considers the moral underpinnings of rape-and-revenge movies, such as I Spit on Your Grave (1978) and Irreversible (2002). The book features numerous photographs from the author's extensive personal archive, and also catalogs the genre's most prominent directors. |
| horror and the horror film: Monsters in the Closet Harry M. Benshoff, 1997 A history of the horror film that explores the genre's relationship to the history of homosexuality in AmericaThe horror film has offered a number of medical, psychological, and social models of homosexuality. Examining not only the films themselves, but also other related cultural products, Harry Benshoff defines these models and their implications. We see familiar constructions of gays and lesbians pass before our eyes: homosexuality as a treatable disease, as a threat to national security, as a mark of the pariah. Monsters in the Closet challenges us to more closely examine what we see. |
| horror and the horror film: Horror Films James B. Weaver, Ron Tamborini, 2013-11-05 Why do so many of us enjoy being told frightening stories? What are some of the consequences that result from such exposure? In light of the considerable popularity of horror films over the last three decades, these questions have become the focus of growing attention for many scholars. However, research on audience preferences for, and reactions to, horror films has been performed eclectically by investigators from varied theoretical and methodological backgrounds. As a result, the information has not been effectively integrated. This volume was written to address this problem and to position the study of audience responses to frightening fiction as a significant research topic. |
| horror and the horror film: Horror Film and Otherness Adam Lowenstein, 2022-07-19 What do horror films reveal about social difference in the everyday world? Criticism of the genre often relies on a dichotomy between monstrosity and normality, in which unearthly creatures and deranged killers are metaphors for society’s fear of the “others” that threaten the “normal.” The monstrous other might represent women, Jews, or Blacks, as well as Indigenous, queer, poor, elderly, or disabled people. The horror film’s depiction of such minorities can be sympathetic to their exclusion or complicit in their oppression, but ultimately, these images are understood to stand in for the others that the majority dreads and marginalizes. Adam Lowenstein offers a new account of horror and why it matters for understanding social otherness. He argues that horror films reveal how the category of the other is not fixed. Instead, the genre captures ongoing metamorphoses across “normal” self and “monstrous” other. This “transformative otherness” confronts viewers with the other’s experience—and challenges us to recognize that we are all vulnerable to becoming or being seen as the other. Instead of settling into comforting certainties regarding monstrosity and normality, horror exposes the ongoing struggle to acknowledge self and other as fundamentally intertwined. Horror Film and Otherness features new interpretations of landmark films by directors including Tobe Hooper, George A. Romero, John Carpenter, David Cronenberg, Stephanie Rothman, Jennifer Kent, Marina de Van, and Jordan Peele. Through close analysis of their engagement with different forms of otherness, this book provides new perspectives on horror’s significance for culture, politics, and art. |
| horror and the horror film: The Horror Film Peter Hutchings, 2014-09-11 The Horror Film is an in-depth exploration of one of the most consistently popular, but also most disreputable, of all the mainstream film genres. Since the early 1930s there has never been a time when horror films were not being produced in substantial numbers somewhere in the world and never a time when they were not being criticised, censored or banned. The Horror Film engages with the key issues raised by this most contentious of genres. It considers the reasons for horror's disreputability and seeks to explain why despite this horror has been so successful. Where precisely does the appeal of horror lie? An extended introductory chapter identifies what it is about horror that makes the genre so difficult to define. The chapter then maps out the historical development of the horror genre, paying particular attention to the international breadth and variety of horror production, with reference to films made in the United States, Britain, Italy, Spain and elsewhere. Subsequent chapters explore: The role of monsters, focusing on the vampire and the serial killer. The usefulness (and limitations) of psychological approaches to horror. The horror audience: what kind of people like horror (and what do other people think of them)? Gender, race and class in horror: how do horror films such as Bride of Frankenstein, The Texas Chainsaw Massacre and Blade relate to the social and political realities within which they are produced? Sound and horror: in what ways has sound contributed to the development of horror? Performance in horror: how have performers conveyed fear and terror throughout horror's history? 1970s horror: was this the golden age of horror production? Slashers and post-slashers: from Halloween to Scream and beyond. The Horror Film throws new light on some well-known horror films but also introduces the reader to examples of noteworthy but more obscure horror work. A final section provides a guide to further reading and an extensive bibliography. Accessibly written, The Horror Film is a lively and informative account of the genre that will appeal to students of cinema, film teachers and researchers, and horror lovers everywhere. |
| horror and the horror film: Music in the Horror Film Neil Lerner, 2009-12-16 Collects the essays that examine the effects of music and its ability to provoke or intensify fear in the genre of horror film, address the presence of music in horror films and their potency within them, and delve into the films like The Exorcist, The Shining, The Sixth Sense, Carnival of Souls and The Last House on the Left. |
| horror and the horror film: The Horror Film Peter Hutchings, 2014-09-11 The Horror Film is an in-depth exploration of one of the most consistently popular, but also most disreputable, of all the mainstream film genres. Since the early 1930s there has never been a time when horror films were not being produced in substantial numbers somewhere in the world and never a time when they were not being criticised, censored or banned. The Horror Film engages with the key issues raised by this most contentious of genres. It considers the reasons for horror's disreputability and seeks to explain why despite this horror has been so successful. Where precisely does the appeal of horror lie? An extended introductory chapter identifies what it is about horror that makes the genre so difficult to define. The chapter then maps out the historical development of the horror genre, paying particular attention to the international breadth and variety of horror production, with reference to films made in the United States, Britain, Italy, Spain and elsewhere. Subsequent chapters explore: The role of monsters, focusing on the vampire and the serial killer. The usefulness (and limitations) of psychological approaches to horror. The horror audience: what kind of people like horror (and what do other people think of them)? Gender, race and class in horror: how do horror films such as Bride of Frankenstein, The Texas Chainsaw Massacre and Blade relate to the social and political realities within which they are produced? Sound and horror: in what ways has sound contributed to the development of horror? Performance in horror: how have performers conveyed fear and terror throughout horror's history? 1970s horror: was this the golden age of horror production? Slashers and post-slashers: from Halloween to Scream and beyond. The Horror Film throws new light on some well-known horror films but also introduces the reader to examples of noteworthy but more obscure horror work. A final section provides a guide to further reading and an extensive bibliography. Accessibly written, The Horror Film is a lively and informative account of the genre that will appeal to students of cinema, film teachers and researchers, and horror lovers everywhere. |
| horror and the horror film: Hearths of Darkness Tony Williams, 1996 Hearths of Darkness: The Family in the American Horror Film is the first major book-length study of the family horror film. Far from being a marginal or nonexistent element in the horror genre, as some critics argue, author Tony Williams states that it is really one of the genre's most important features. |
| horror and the horror film: Horror Film Steffen Hantke, 2004 Essays on the rise of the horror film and on how moviemakers package and promote fright |
| horror and the horror film: The Horror Film Rick Worland, 2024-09-16 A lively and reliable narrative account of the horror genre, featuring new and revised material throughout The Horror Film: An Introduction surveys the history, development, and social impact of the genre. Covering American horror cinema from its earliest period to the present, this reader-friendly volume explores the many ways horror movies have been received by filmmakers, critics, and general audiences throughout the decades. Concise, easily accessible chapters describe historical instances of the genre's social reception based on primary research, analyze landmark films such as Frankenstein, Invasion of the Body Snatchers, and The Texas Chain Saw Massacre, and more. Incorporating recent scholarship on the genre, the second edition of The Horror Film contains new discussion and context for Hollywood horror films in the 1980s and 1990s, as well as notable developments in the genre such as “torture porn,” found-footage horror, remakes and reboots of past horror films, zombies, and the “elevated horror” debate. This edition explores the rise of new filmmakers such as Ari Aster, Robert Eggers, and Jordan Peele, surveys horror films made by women and African American filmmakers, and investigates contemporary issues in the production and consumption of horror films. Combining historical narrative with close readings of significant works, The Horror Film: Covers major works in the genre such as Cat People, Halloween, and Bram Stoker's Dracula Examines important antecedents including gothic literature and the Grand Guignol Theater Offers thorough analyses of the style, context, and themes of specific horror milestones Provides examples of close analysis that can be applied to a wide range of other horror films Discusses important representative titles across the genre's evolution, including more recent films such as 2017's Get Out The Horror Film: An Introduction, Second Edition, is an ideal textbook for undergraduate surveys of the horror genre and other courses in American film history, and an invaluable resource for scholars, lecturers, and general readers with an interest in the subject. |
| horror and the horror film: More Classics of the Horror Film William K. Everson, 1990-07-01 |
| horror and the horror film: The Dread of Difference Barry Keith Grant, 2015-04-01 The Dread of Difference is a classic. Few film studies texts have been so widely read and so influential. It's rarely on the shelf at my university library, so continuously does it circulate. Now this new edition expands the already comprehensive coverage of gender in the horror film with new essays on recent developments such as the Hostel series and torture porn. Informative and enlightening, this updated classic is an essential reference for fans and students of horror movies.—Stephen Prince, editor of The Horror Film and author of Digital Visual Effects in Cinema: The Seduction of Reality An impressive array of distinguished scholars . . . gazes deeply into the darkness and then forms a Dionysian chorus reaffirming that sexuality and the monstrous are indeed mated in many horror films.—Choice An extremely useful introduction to recent thinking about gender issues within this genre.—Film Theory |
| horror and the horror film: American Horrors Gregory Albert Waller, 1987 Since the release of Rosemary's Baby in 1968, the American horror film has become one of the most diverse, commercially successful, widely discussed, and culturally significant film genres. Drawing on a wide range of critical methods---from close textual readings and structuralist genre criticism to psychoanalytical, feminist, and ideological analyses---the authors examine individual films, directors, and subgenres. In this collection of twelve essays, Gregory Waller balances detailed studies of both popular films (Night of the Living Dead, The Exorcist, and Halloween) and particularly problematic films (Don't Look Now and Eyes of Laura Mars) with discussions of such central thematic preoccupations as the genre's representation of violence and female victims, its reflexivity and playfulness, and its ongoing redefinition of the monstrous and the normal. In addition, American Horrors includes a filmography of movies and telefilms and an annotated bibliography of books and articles about horror since 1968. |
| horror and the horror film: Horror Films James Marriott, 2004 This book analyses the definitive works (and the most influential directors) of the genre over the last 50 years - from silent expressionist classics to Hollywood scream queens - as it looks at the themes and impact of the genre on both the movie-making industry and audiences the world over. |
| horror and the horror film: Classics of the Horror Film William K. Everson, 1990 Critical reviews of classic and otherwise noteworthy horror movies are organized according to single film and recurrent motif or theme |
| horror and the horror film: Lost in the Dark Brad Weismann, 2021-04-22 Two horror films were nominated for the Academy Award for Best Picture in 2018, and one of them—The Shape of Water—won. Since 1990, the production of horror films has risen exponentially worldwide, and in 2013, horror films earned an estimated $400 million in ticket sales. Horror has long been the most popular film genre, and more horror movies have been made than any other kind. We need them. We need to be scared, to test ourselves, laugh inappropriately, scream, and flinch. We need to get through them and come out, blinking, still in one piece. Lost in the Dark: A World History of Horror Film is a straightforward history written for the general reader and student that can serve as a comprehensive reference work. The volume provides a general introduction to the genre, serves as a guidebook to its film highlights, and celebrates its practitioners, trends, and stories. Starting with silent-era horror films and ending with 2020’s The Invisible Man, Lost in the Dark looks at decades of horror movies. Author Brad Weismann covers such topics as the roots of horror in literature and art, monster movies, B-movies, the destruction of the American censorship system, international horror, torture porn, zombies, horror comedies, horror in the new millennium, and critical reception of modern horror. A sweeping survey that doesn’t scrimp on details, Lost in the Dark is sure to satisfy both the curious and the completist. |
| horror and the horror film: American Horror Film Steffen Hantke, 2010-09-30 Creatively spent and politically irrelevant, the American horror film is a mere ghost of its former self—or so goes the old saw from fans and scholars alike. Taking on this undeserved reputation, the contributors to this collection provide a comprehensive look at a decade of cinematic production, covering a wide variety of material from the last ten years with a clear critical eye. Individual essays profile the work of up-and-coming director Alexandre Aja and reassess William Malone’s much-maligned Feardotcom in the light of the torture debate at the end of President George W. Bush’s administration. Other essays look at the economic, social, and formal aspects of the genre; the globalization of the US film industry; the alleged escalation of cinematic violence; and the massive commercial popularity of the remake. Some essays examine specific subgenres—from the teenage horror flick to the serial killer film and the spiritual horror film—as well as the continuing relevance of classic directors such as George A. Romero, David Cronenberg, John Landis, and Stuart Gordon. Essays deliberate on the marketing of nostalgia and its concomitant aesthetic and on the curiously schizophrenic perspective of fans who happen to be scholars as well. Taken together, the contributors to this collection make a compelling case that American horror cinema is as vital, creative, and thought-provoking as it ever was. |
| horror and the horror film: White Zombie Gary D. Rhodes, 2015-09-03 The 1932 horror film White Zombie starring Bela Lugosi has received controversial attention from film reviewers and scholars--but it is unarguably a cult classic worthy of study. This book analyzes the film text from nearly every possible viewpoint, using both academic and popular film theories. Also supplied is an extensive intellectual history of the predecessor works to White Zombie, as well as information on the significance it carried for subsequent books and films, its theatrical release around the country, its modern cultural influence, and the attempts to restore the film to its original state. Other noteworthy features of this work include an in-depth biography of White Zombie director Victor Halperin, the first complete study of his life and career, and 244 images and photographs. |
| horror and the horror film: Horror Cinema Jonathan Penner, Steven Jay Schneider, 2017 Get ready to quake in fear with this revised and expanded edition of our history of horror cinema. From serial killers to satanists, The Shining to Scream, some 600 pages explore the genre's favorite themes, mythologies, and motifs, and get up close and trembling to 50 top horror masterworks from the 1920s to the 2000s. |
| horror and the horror film: Horror Movies Carlos Clarens, 1968 |
| horror and the horror film: The Deep Nick Cutter, 2015-07-28 A strange plague called the 'Gets is decimating humanity on a global scale. It causes people to forget--small things at first, like where they left their keys, then the not-so-small things like how to drive or the letters of the alphabet. Then their bodies forget how to function involuntarily. There is no cure. But far below the surface of the Pacific Ocean, a universal healer hailed as 'ambrosia' has been discovered. In order to study this phenomenon, a special research lab has been built eight miles under the sea's surface. When the station goes incommunicado, a brave few descend through the lightless fathoms in hopes of unraveling the mysteries lurking at those crushing depths...and perhaps to encounter an evil blacker than anything one could possibly imagine--Page [4] of cover. |
| horror and the horror film: Horror Films Colin Odell, Michelle Le Blanc, 2008-04-28 Often subject to more cuts at the hands of the censor than a serial killer's razor, the horror film has a fascinating history, not only as film study but also as a look at what has been considered acceptable for the public to view, and what the state will allow its citizens to see. But for the most part horror films are about entertainment—consistently profitable, eminently enjoyable. From horror cinema’s beginnings in the late 19th century to the latest splatter films, from the chills of the ghost film to the terror of the living dead, there is more than enough here to keep fans awake at night. Among the many films discussed are the popular Dracula, Evil Dead, Frankenstein, Halloween, Ringu, Scream, and The Sixth Sense, as well as the more unusual Black Cat, The Living Dead Girl, Nang Nak, Rouge, and Les Yeux sans Visage. The guide also profiles such popular directors as Dario Argento, John Carpenter, Wes Craven, David Cronenberg, Hideo Nakata, and Sam Raimi; as well as cult directors from around the world, including Coffin Joe, Jean Rollin, and Michele Soavi. |
| horror and the horror film: Studying Horror Cinema Bryan Turnock, 2019-06-11 Aimed at teachers and students new to the subject, Studying Horror Cinema 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 sequences. Sitting alongside such acknowledged classics as Psycho and Rosemary’s Baby are analyses of influential non-English language films as Kwaidan, Bay of Blood, and Let the Right One In. The author concludes with a chapter on 2017’s blockbuster It, the most financially successful horror film of all time, making Studying Horror Cinema the most up-to-date overview of the genre available. |
| horror and the horror film: Horror Film Murray Leeder, 2018-01-25 An introduction to the horror film genre. |
| horror and the horror film: An Illustrated History of the Horror Film Carlos Clarens, 1979 |
| horror and the horror film: Men, Women, and Chain Saws Carol J. Clover, 2015-05-26 From its first publication in 1992, Men, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mid-1970s. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented—notably the slasher movie's final girls—as they endure fear and degradation before rising to save themselves. The lesson was not lost on the mainstream industry, which was soon turning out the formula in well-made thrillers. Including a new preface by the author, this Princeton Classics edition is a definitive work that has found an avid readership from students of film theory to major Hollywood filmmakers. |
| horror and the horror film: A Very Nervous Person's Guide to Horror Movies Mathias Clasen, 2021-09-01 Why your worst nightmares about watching horror movies are unfounded Films about chainsaw killers, demonic possession, and ghostly intruders make some of us scream with joy. But while horror fans are attracted to movies designed to scare us, others shudder already at the thought of the sweat-drenched nightmares that terrifying movies often trigger. The fear of sleepless nights and the widespread beliefs that horror movies can have negative psychological effects and display immorality make some of us very, very nervous about them. But should we be concerned? In this book, horror-expert Mathias Clasen delves into the psychological science of horror cinema to bust some of the worst myths and correct the biggest misunderstandings surrounding the genre. In short and highly readable chapters peppered with vivid anecdotes and examples, he addresses the nervous person's most pressing questions: What are the effects of horror films on our mental and physical health? Why do they often cause nightmares? Aren't horror movies immoral and a bad influence on children and adolescents? Shouldn't we be concerned about what the current popularity of horror movies says about society and its values? While media psychologists have demonstrated that horror films indeed have the potential to harm us, Clasen reveals that the scientific evidence also contains a second story that is often overlooked: horror movies can also help us confront and manage fear and often foster prosocial values. |
| horror and the horror film: The A to Z of Horror Cinema Peter Hutchings, 2009-09-02 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. Horror's capacity to serve as an outlet to capture the changing patterns of our fears and anxieties has ensured not only its notoriety but also its long-term survival and its international popularity. Above all, however, it is the audience's continual desire to experience new frights and evermore-horrifying sights that continue to make films like The Exorcist, A Nightmare on Elm Street, Halloween, Night of the Living Dead, The Texas Chainsaw Massacre, Psycho, Ringu, and The Shining captivate viewers. The A to Z of Horror Cinema traces the development of horror cinema from the beginning of the 20th century to the present day. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries. Entries cover all the major movie villains, including Frankenstein and his monster, the vampire, the werewolf, the mummy, the zombie, the ghost, and the serial killer; the film directors, producers, writers, actors, cinematographers, make-up artists, special effects technicians, and composers who have helped to shape horror history; significant production companies and the major films that have come to stand as milestones in the development of the horror genre; and the different national traditions in horror cinema as well as horror's most popular themes, formats, conventions, and cycles. |
| horror and the horror film: Dr. AC Presents Horror 101 Aaron Christensen, 2007 The A-List of Horror Films and Monster Movies 320 pages * with 122 photos from * 110 films covered in * 101 essays by * 78 horror fans from * 12 different countries Bringing a refreshingly egalitarian approach to the subject, Horror 101 collects musings on our favorite chillers not by the expected assortment of critics and filmmakers, but the audience... the fans themselves. Young and old, male and female, located all over the globe. From Alien through The Wicker Man, each entry brings a breath of fresh air to the consideration of seminal movies many of us thought had been analyzed to death. As editor Aaron Christensen puts it, Keep America strong! Watch more monster movies!-- Joe Dante, director, The Howling, Piranha, Gremlins These are not just fanboys that like their gore and monsters; rather they are passionate folks who give great insight to all things horror and the macabre. --Tiffany Shepis, scream queen, Tromeo & Juliet, The Hazing, Nightmare Man I LOVE this book!! -- Elaine Lamkin, bloody-disgusting.com ...a book of enthusiasm. It reminds us why we love horror movies... -- Michael W. Mayo, author, VideoHound's Horror Show Horror 101 is the primer every sci-fi and horror student needs for a compelling and intellectual glimpse into the classroom of genre movies. After digesting this, you will never again get an F -- unless it stands for Film-lover. -- John Stanley, author, Creature Features and I Was a TV Horror Hos |
| horror and the horror film: The Modern Horror Film John McCarty, 1990 John McCarty has selected fifty outstanding examples of the modern horror film. Film buffs will relive the terrors they enjoyed on the screen! Each of the fifty films is documented with casts, credits, production notes and reviews. |
| horror and the horror film: Deleuze and Horror Film Anna Powell, 2005-03-24 Using Deleuze's work on art and film, Anna Powell argues that film viewing is a form of 'altered consciousness' and the experience of viewing horror film an 'embodied event'. The book begins with a critical introduction to the key terms in Deleuzian philosophy and aesthetics. |
| horror and the horror film: Deformed and Destructive Beings George Ochoa, 2017-02-10 Why are audiences drawn to horror films? Previous answers to that question have included everything from a need to experience fear to a hunger for psychotherapy. This critical text proposes that the horror film's primary purpose is to present monsters, best understood as deformed and destructive beings. These monsters satisfy the audience's desire to know these beings, in particular those beings too fantastic and dangerous to know in real life. The text illuminates many aspects of the horror film genre, including epistemology, ethics, evaluation, history, monster taxonomy, and filmmaking techniques. |
| horror and the horror film: Post-9/11 Horror in American Cinema Kevin J. Wetmore, Jr., 2012-03-22 The horror film is meant to end in hope: Regan McNeil can be exorcized. A hydrophobic Roy Scheider can blow up a shark. Buffy can and will slay vampires. Heroic human qualities like love, bravery, resourcefulness, and intelligence will eventually defeat the monster. But, after the 9/11, American horror became much more bleak, with many films ending with the deaths of the entire main cast. Post-9/11 Horror in American Cinema illustrates how contemporary horror films explore visceral and emotional reactions to the attacks and how they underpin audiences' ongoing fears about their safety. It examines how scary movies have changed as a result of 9/11 and, conversely, how horror films construct and give meaning to the event in a way that other genres do not. Considering films such as Quarantine, Cloverfield, Hostel and the Saw series, Wetmore examines the transformations in horror cinema since 9/11 and considers not merely how the tropes have changed, but how our understanding of horror itself has changed. |
| horror and the horror film: Post-Horror David Church, 2021-02-01 Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed 'elevated horror' and 'post-horror,' films such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema. |
| horror and the horror film: Terror and Everyday Life Jonathan Lake Crane, 1994-09-19 He persuasively demonstrates that horror films are not merely a manifestation of the solitary, unconscious 'I' or cultural abjection. . . . This well-crafted, insightful, and devilishly witty study brings horror out from under the psychoanalytic rock to let it scurry and bleed in the daylight of everyday life. The detailed endnotes are scintillating gems in and of themselves. --Choice Terror and Everyday Life is an important, well-conceived, and well-executed work. Crane's treatment of the topic is unusual; he clearly positions himself as a fan of the contemporary horror film. Consequently, there are moments that seem to revel in the disgusting details of murder and mayhem. However, this approach is appropriate; as Crane makes perfectly clear, this is what the genre is about, so to ignore it would be to misrepresent its effects and--for horror fans--its pleasures. This is a complex scholarly work, exceptionally original. --Charles R. Acland, Communication Department, The University of Calgary, Alberta, Canada How does horror in film relate to the horror we experience in everyday life? This is one of the key questions addressed in this new examination of the horror film genre. Terror and Everyday Life argues that today's horror films have broken away from the genre's tradition to embrace far more violent imagery, images that are in keeping with the escalating violence in our society. By examining the horror film, its history, and its current trends, Jonathan Lake Crane furthers our understanding of the genre's meaning in today's culture and our fascination with violence. An important supplement for courses in popular culture, media studies, and film; Terror and Everyday Life's unique approach on the nature of horror in our society will also be of interest in a wide range of disciplines. |
The Horror Film and the Horror of Film - JSTOR
then examine a single illustrative example of the horror genre-Nico- las Roeg's Don't Look Now (1973)--as a film whose horror springs in part from a horror of film.
THE DECAY OF MONSTERS: HORROR MOVIES …
formation of the concept of gothic horror set pieces and narratives to be used in film, emulating real life demons such as serial killers and representing those found in classic literature.
Screams on Screens: Paradigms of Horror - Simon Fraser University
Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror …
Introduction: Psychoanalysis in/and/of the Horror Film
the horror film attempts to bring about a confrontation with the abject (the corpse, bodily wastes, the monstrous-feminine) in order finally to eject the abject and redraw the boundaries …
HORROR FILM AND PSYCHOANALYSIS: FREUD'S WORST …
psychoanalytic film analysis as it has been ap plied to the study of gender over the last thirty years. As a horror film fan and genre scholar, I have read and enjoyed a variety of texts that …
The Evolution of Horror Films: From Classic Monsters to …
In this section, we will explore the characteristics that defined early horror films, analyze iconic classic monster films, delve into their cultural contexts, and examine their lasting legacy on …
Michael Sandlin Robin Wood on the Horror Film - JSTOR
famous, and debated, contribution to horror film theory—“the return of the repressed.” All that society represses returns in frighten-ing, monstrous form, a process the horror film perpetually …
THE HORROR FILM - Western University
With deep roots in mythology, fairy tales, Gothic literature, and Freudian psychoanalysis, horror cinema continues to shock and delight audiences through tales of vampires, ghosts, zombies, …
The Presence of Disability in Horror Films: Ableism and Counter …
In this essay, I will explore several horror films that depict monsters in terms of disability. I will critique moments when nondisabled characters fall into patterns of ableist thought and action, …
GENRE: HORROR FILMS TARGET AUDIENCE - cmp alex gilbey
horror-genre/ Horror films tend to attract a slightly younger audience, predominantly under 25s. It is said that roughly 42% of horror audiences are women, with 58% being men. Horror films …
More horror due to specific music placement? Effects of film …
Thematically matching music increases the stress in danger situations of a horror film compared to the same film scene without music, regardless whether or not the music is placed …
Crafting Fear: The Horror Film Trailer - scholarworks.wmich.edu
aim in this paper is twofold: to map out the genre conventions of horror film trailers, and to argue that trailers for horror films tend to follow a similar script and rely on a shared set of stylistic, …
Horror Films and Grief - SAGE Journals
Many of the most popular and critically acclaimed horror films feature grief as a central theme. This article argues that horror films are especially suited to portraying and communicating the …
Bluebeard’s Wives: Horror, Quality and the Gothic (or Paranoid) …
It starts out from a survey of the academic debates over these films and their relationship to horror before moving on to explore the strategies through which these films were generically …
RICH AND STRANGE: THE YUPPIE HORROR FILM - JSTOR
Yuppie horror is a subgenre that em ploys?but modifies? the codes and con ventions of the classic horror film. "A good horror film," notes Bruce Kawin, "takes you down into the depths …
‘Three types of terror.’ A critical study into how Stephen King …
orror is a genre of literature, film, and television that is meant to scare, startle, shock, and even repulse audiences. The key focus of a horror novel, horror film, or horror.
Horror film clichés - LearnEnglish - British Council
Since almost the beginning of cinema, we have had scary films. Of all the genres that exist, horror is perhaps one of the most conventional. Many horror films rely on specific plot devices, also …
Audio zone Horror films - LearnEnglish - British Council
Listen to Mel talking about why she loves horror films and which ones she prefers. Do the preparation task first. Then listen to the audio and do the exercises. Match the definitions (a–h) …
Harry M. Benshoff. Monsters in the Closet: Homosexuality and …
new look into the horror and science fiction genres. By examining these films in the context of related cultural events, products, and feelings, Harry Benshoff is able to describe the differ-
The Horror Film and the Horror of Film - JSTOR
then examine a single illustrative example of the horror genre-Nico- las Roeg's Don't Look Now (1973)--as a film whose horror springs in part from a …
The Aesthetics and Psychology Behind Horror Films - Long Is…
sound engineers, and cinematographers specifically design a horror film? Can horror movies cause negative, lasting effects on the …
THE DECAY OF MONSTERS: HORROR MOVIES THROUGHO…
formation of the concept of gothic horror set pieces and narratives to be used in film, emulating real life demons such as serial killers and …
Screams on Screens: Paradigms of Horror - Simon …
Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, …
Introduction: Psychoanalysis in/and/of the Horror Film
the horror film attempts to bring about a confrontation with the abject (the corpse, bodily wastes, the monstrous-feminine) in order finally to eject the …
