Steffen Hantke
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734539
- eISBN:
- 9781621031048
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734539.003.0001
- Subject:
- Film, Television and Radio, Film
This introductory chapter, which begins by presenting a pessimist’s view of American horror films, suggests that over the last decade, starting from around the mid-1990s, the genre has fallen into a ...
More
This introductory chapter, which begins by presenting a pessimist’s view of American horror films, suggests that over the last decade, starting from around the mid-1990s, the genre has fallen into a slump. It then reviews academic studies of American horror films between 2002 and 2006; considers the problems that writers of film histories face when dealing with a genre that remains a vital element in the cultural landscape; and discusses the responses of fans and general audiences to the mainstreaming of American horror films. An overview of the subsequent chapters is also presented.Less
This introductory chapter, which begins by presenting a pessimist’s view of American horror films, suggests that over the last decade, starting from around the mid-1990s, the genre has fallen into a slump. It then reviews academic studies of American horror films between 2002 and 2006; considers the problems that writers of film histories face when dealing with a genre that remains a vital element in the cultural landscape; and discusses the responses of fans and general audiences to the mainstreaming of American horror films. An overview of the subsequent chapters is also presented.
Pamela Craig and Martin Fradley
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734539
- eISBN:
- 9781621031048
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734539.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter delineates the political and ideological issues surrounding teenage protagonists in horror films. Pointing to many films’ self-conscious and often politically astute articulation of ...
More
This chapter delineates the political and ideological issues surrounding teenage protagonists in horror films. Pointing to many films’ self-conscious and often politically astute articulation of social class, gender, and race, it exonerates the American teen horror film from its critical dismissal as adolescent escapism or shameless pandering to the youth demographic.Less
This chapter delineates the political and ideological issues surrounding teenage protagonists in horror films. Pointing to many films’ self-conscious and often politically astute articulation of social class, gender, and race, it exonerates the American teen horror film from its critical dismissal as adolescent escapism or shameless pandering to the youth demographic.
Craig Bernardini
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734539
- eISBN:
- 9781621031048
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734539.003.0010
- Subject:
- Film, Television and Radio, Film
This chapter analyzes the careers of David Cronenberg and George A. Romero, charting the evolution of two notable horror film auteurs from their origins in what the rhetoric of crisis has construed ...
More
This chapter analyzes the careers of David Cronenberg and George A. Romero, charting the evolution of two notable horror film auteurs from their origins in what the rhetoric of crisis has construed for many as the golden days of 1970s neo-horror, all the way toward the present. It suggests that while Cronenberg’s movies have come to exhibit that staid minimalism expected from a “mature” director of international stature, Romero’s recent films feature a joyful yet dour return to the exuberance of his genre’s g(l)ory days.Less
This chapter analyzes the careers of David Cronenberg and George A. Romero, charting the evolution of two notable horror film auteurs from their origins in what the rhetoric of crisis has construed for many as the golden days of 1970s neo-horror, all the way toward the present. It suggests that while Cronenberg’s movies have come to exhibit that staid minimalism expected from a “mature” director of international stature, Romero’s recent films feature a joyful yet dour return to the exuberance of his genre’s g(l)ory days.
Ben Kooyman
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734539
- eISBN:
- 9781621031048
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734539.003.0011
- Subject:
- Film, Television and Radio, Film
Masters of Horror is a television anthology series that debuted on October 28, 2005, on U.S. cable network Showtime. Each season comprises thirteen self-contained hour-long episodes, each directed by ...
More
Masters of Horror is a television anthology series that debuted on October 28, 2005, on U.S. cable network Showtime. Each season comprises thirteen self-contained hour-long episodes, each directed by a different “Master of Horror”: a director deemed to have made a significant contribution to the horror genre. This chapter offers a deconstructive analysis of both the Master label and the self-fashioning motifs that run through the DVD extras, and explores tensions circulating around and within the project, with a particular focus on directors Stuart Gordon and John Landis, their season-one episodes, and the accompanying DVD paratexts. It is argued that the assortment of tensions constituting the series is dialectical.Less
Masters of Horror is a television anthology series that debuted on October 28, 2005, on U.S. cable network Showtime. Each season comprises thirteen self-contained hour-long episodes, each directed by a different “Master of Horror”: a director deemed to have made a significant contribution to the horror genre. This chapter offers a deconstructive analysis of both the Master label and the self-fashioning motifs that run through the DVD extras, and explores tensions circulating around and within the project, with a particular focus on directors Stuart Gordon and John Landis, their season-one episodes, and the accompanying DVD paratexts. It is argued that the assortment of tensions constituting the series is dialectical.
Blair Davis and Kial Natale
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734539
- eISBN:
- 9781621031048
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734539.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter challenges the validity of the widely held belief that American horror films, since the 1970s and 1980s, have grown consistently more violent and visually explicit. Using tools of ...
More
This chapter challenges the validity of the widely held belief that American horror films, since the 1970s and 1980s, have grown consistently more violent and visually explicit. Using tools of quantitative statistical analysis, it surveys a vast number of American horror films with a critical eye on violence. Apart from mapping out larger trends, the chapter also suggests how the aesthetics of American horror film has shaped itself around crucial representational issues.Less
This chapter challenges the validity of the widely held belief that American horror films, since the 1970s and 1980s, have grown consistently more violent and visually explicit. Using tools of quantitative statistical analysis, it surveys a vast number of American horror films with a critical eye on violence. Apart from mapping out larger trends, the chapter also suggests how the aesthetics of American horror film has shaped itself around crucial representational issues.
Christina Klein
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734539
- eISBN:
- 9781621031048
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734539.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter examines the four different ways in which to look at the transnational dimensions of the contemporary horror film, paying particular attention to relations between Hollywood and its ...
More
This chapter examines the four different ways in which to look at the transnational dimensions of the contemporary horror film, paying particular attention to relations between Hollywood and its counterpart industries in Asia. These include (i) remakes; (ii) local language co-productions; (iii) regional co-productions; and (iv) films wholly made by one industry and aimed at a specific export market by using the language, actors, and locations of that market.Less
This chapter examines the four different ways in which to look at the transnational dimensions of the contemporary horror film, paying particular attention to relations between Hollywood and its counterpart industries in Asia. These include (i) remakes; (ii) local language co-productions; (iii) regional co-productions; and (iv) films wholly made by one industry and aimed at a specific export market by using the language, actors, and locations of that market.
James Kendrick
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734539
- eISBN:
- 9781621031048
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734539.003.0009
- Subject:
- Film, Television and Radio, Film
This chapter examines the spiritual horror film. Taking as its point of departure the phenomenal box office success of The Sixth Sense and the cycle of American ghost stories it initiated, it ...
More
This chapter examines the spiritual horror film. Taking as its point of departure the phenomenal box office success of The Sixth Sense and the cycle of American ghost stories it initiated, it speculates about the resonance that these films, with their spectral theme, have for contemporary viewers, and how they are positioned within a larger cultural landscape that often favors more overtly violent forms of body horror.Less
This chapter examines the spiritual horror film. Taking as its point of departure the phenomenal box office success of The Sixth Sense and the cycle of American ghost stories it initiated, it speculates about the resonance that these films, with their spectral theme, have for contemporary viewers, and how they are positioned within a larger cultural landscape that often favors more overtly violent forms of body horror.
Mark Bernard
- Published in print:
- 2014
- Published Online:
- September 2015
- ISBN:
- 9780748685493
- eISBN:
- 9781474406444
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748685493.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter introduces the reader to the Splat Pack, a group of contemporary horror film-makers such as Eli Roth, Rob Zombie, Neil Marshall, and Alexandre Aja. It examines how mainstream media hyped ...
More
This chapter introduces the reader to the Splat Pack, a group of contemporary horror film-makers such as Eli Roth, Rob Zombie, Neil Marshall, and Alexandre Aja. It examines how mainstream media hyped the Splat Packers, citing articles — including the one written by Alan Jones for the April 2006 issue of the British film magazine Total Film — that portrayed them as independent, subversive film-makers who operate outside the Hollywood mainstream. One of the ways in which journalists — and the Splat Packers themselves — construct the group's image of oppositional outsiderdom is by likening them to past horror directors like George Romero and Wes Craven from the 1960s and 1970s, the so-called ‘Golden Age’ of subversive American horror films. This chapter suggests that the media hype heralding the Splat Pack's arrival offers an intriguing glimpse into how notions of independence, outsider status, and claims of subversion are used to sell films and the personalities of their directors.Less
This chapter introduces the reader to the Splat Pack, a group of contemporary horror film-makers such as Eli Roth, Rob Zombie, Neil Marshall, and Alexandre Aja. It examines how mainstream media hyped the Splat Packers, citing articles — including the one written by Alan Jones for the April 2006 issue of the British film magazine Total Film — that portrayed them as independent, subversive film-makers who operate outside the Hollywood mainstream. One of the ways in which journalists — and the Splat Packers themselves — construct the group's image of oppositional outsiderdom is by likening them to past horror directors like George Romero and Wes Craven from the 1960s and 1970s, the so-called ‘Golden Age’ of subversive American horror films. This chapter suggests that the media hype heralding the Splat Pack's arrival offers an intriguing glimpse into how notions of independence, outsider status, and claims of subversion are used to sell films and the personalities of their directors.
Reynold Humphries
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734539
- eISBN:
- 9781621031048
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734539.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter examines the graphic violence in director William Malone’s FearDotCom. It traces the film’s uneasy position between two modes of the fantastic, as well as its unfortunate release in ...
More
This chapter examines the graphic violence in director William Malone’s FearDotCom. It traces the film’s uneasy position between two modes of the fantastic, as well as its unfortunate release in advance of a commercially far more successful horror film cycle—that of so-called torture porn—which would have created more favorable conditions of reception. Reading the film self-consciously at the end of the Bush years, and thus in the context of Abu Ghraib, CIA renditions, and the debate on American torture, the chapter gives the film and its director credit not only for being oddly prescient of the political issues that were to define America’s role in the new century, but also for articulating them more provocatively than many of their more highly appraised successors.Less
This chapter examines the graphic violence in director William Malone’s FearDotCom. It traces the film’s uneasy position between two modes of the fantastic, as well as its unfortunate release in advance of a commercially far more successful horror film cycle—that of so-called torture porn—which would have created more favorable conditions of reception. Reading the film self-consciously at the end of the Bush years, and thus in the context of Abu Ghraib, CIA renditions, and the debate on American torture, the chapter gives the film and its director credit not only for being oddly prescient of the political issues that were to define America’s role in the new century, but also for articulating them more provocatively than many of their more highly appraised successors.
Andrew Patrick Nelson
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734539
- eISBN:
- 9781621031048
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734539.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter presents a comparative analysis of a recent horror remake and its original by adapting the critical approach employed by the literary philosopher Tzvetan Todorov in his seminal 1970 ...
More
This chapter presents a comparative analysis of a recent horror remake and its original by adapting the critical approach employed by the literary philosopher Tzvetan Todorov in his seminal 1970 study The Fantastic: A Structural Approach to a Literary Genre. It compares John Carpenter’s Halloween and its recent remake by Rob Zombie, and then expands this comparison into a demonstration of the larger transformative mechanisms by which American filmmaking has been appropriating earlier texts to new social and political circumstances.Less
This chapter presents a comparative analysis of a recent horror remake and its original by adapting the critical approach employed by the literary philosopher Tzvetan Todorov in his seminal 1970 study The Fantastic: A Structural Approach to a Literary Genre. It compares John Carpenter’s Halloween and its recent remake by Rob Zombie, and then expands this comparison into a demonstration of the larger transformative mechanisms by which American filmmaking has been appropriating earlier texts to new social and political circumstances.
Steffen Hantke (ed.)
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734539
- eISBN:
- 9781621031048
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734539.001.0001
- Subject:
- Film, Television and Radio, Film
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 ...
More
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. Others look at the economic, social, and formal aspects of the genre; the globalization of the U.S. 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 the curiously schizophrenic perspective of fans who happen to be scholars as well. Taken together, the contributors to this collection make a case that American horror cinema is as vital, creative, and thought-provoking as it ever was.Less
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. Others look at the economic, social, and formal aspects of the genre; the globalization of the U.S. 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 the curiously schizophrenic perspective of fans who happen to be scholars as well. Taken together, the contributors to this collection make a case that American horror cinema is as vital, creative, and thought-provoking as it ever was.
Philip L. Simpson
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734539
- eISBN:
- 9781621031048
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734539.003.0008
- Subject:
- Film, Television and Radio, Film
This chapter offers a critical overview of the serial killer film, especially in the light of the subgenre’s intense cultural significance during the 1980s and 1990s and its subsequent descent into ...
More
This chapter offers a critical overview of the serial killer film, especially in the light of the subgenre’s intense cultural significance during the 1980s and 1990s and its subsequent descent into relative insignificance after 9/11. While pondering the larger questions of why and how horror film archetypes drift in and out of the culture’s focus of attention, it also demonstrates how the serial killer film, though often pronounced dead, has instead managed to spread throughout a field of cultural production much larger than that of a strictly defined and narrowly circumscribed cinematic genre. The chapter argues that the serial killer has even made a comeback with recent high-profile productions directed by auteurist filmmakers such as Spike Lee (Summer of Sam) and David Fincher (Zodiac).Less
This chapter offers a critical overview of the serial killer film, especially in the light of the subgenre’s intense cultural significance during the 1980s and 1990s and its subsequent descent into relative insignificance after 9/11. While pondering the larger questions of why and how horror film archetypes drift in and out of the culture’s focus of attention, it also demonstrates how the serial killer film, though often pronounced dead, has instead managed to spread throughout a field of cultural production much larger than that of a strictly defined and narrowly circumscribed cinematic genre. The chapter argues that the serial killer has even made a comeback with recent high-profile productions directed by auteurist filmmakers such as Spike Lee (Summer of Sam) and David Fincher (Zodiac).
Jay McRoy
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734539
- eISBN:
- 9781621031048
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734539.003.0012
- Subject:
- Film, Television and Radio, Film
This chapter examines Grindhouse as a text that deploys cutting-edge digital technologies to (re)produce a viewing experience with which only a fraction of the film’s vast audience can directly ...
More
This chapter examines Grindhouse as a text that deploys cutting-edge digital technologies to (re)produce a viewing experience with which only a fraction of the film’s vast audience can directly relate. Using Death Proof, Quentin Tarantino’s contribution to Grindhouse, as a case study, it suggests that structural (i.e., visual, aural, narratological) logics informing Rodriguez’s and Tarantino’s mammoth cinematic venture exist to produce rather than stimulate nostalgia.Less
This chapter examines Grindhouse as a text that deploys cutting-edge digital technologies to (re)produce a viewing experience with which only a fraction of the film’s vast audience can directly relate. Using Death Proof, Quentin Tarantino’s contribution to Grindhouse, as a case study, it suggests that structural (i.e., visual, aural, narratological) logics informing Rodriguez’s and Tarantino’s mammoth cinematic venture exist to produce rather than stimulate nostalgia.
