Laura Helen Marks
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780252042140
- eISBN:
- 9780252050886
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042140.001.0001
- Subject:
- Film, Television and Radio, Film
This book argues that pornographic film relies on a particular "Victorianness" in generating eroticism—a Gothic Victorianness that is monstrous and restrained, repressed but also perverse, static but ...
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This book argues that pornographic film relies on a particular "Victorianness" in generating eroticism—a Gothic Victorianness that is monstrous and restrained, repressed but also perverse, static but also transformative, and preoccupied with gender, sexuality, race, and time. Pornographic films enthusiastically expose the perceived hypocrisy of this Victorianness, rhetorically equating it with mainstream, legitimate culture, as a way of staging pornography’s alleged sexual authenticity and transgressive nature. Through an analysis of porn set during the nineteenth century and porn adaptations of Lewis Carroll’s Alice books, Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, Oscar Wilde’s The Picture of Dorian Gray, and Bram Stoker’s Dracula, this book shows how these adaptations expose the implicit pornographic aspects of “legitimate” culture while also revealing the extent to which “high” and “low” genres rely on each other for self-definition. In the process, neo-Victorian pornographies draw on Gothic spaces and icons in order to situate itself as this Gothic other, utilizing the Gothic and the monstrous to craft a transformative, pornographic space. These neo-Victorian Gothic pornographies expose the way the genre as a whole emphasizes, navigates, transgresses, and renegotiates gender, sexuality, and race through the lens of history and legacy.Less
This book argues that pornographic film relies on a particular "Victorianness" in generating eroticism—a Gothic Victorianness that is monstrous and restrained, repressed but also perverse, static but also transformative, and preoccupied with gender, sexuality, race, and time. Pornographic films enthusiastically expose the perceived hypocrisy of this Victorianness, rhetorically equating it with mainstream, legitimate culture, as a way of staging pornography’s alleged sexual authenticity and transgressive nature. Through an analysis of porn set during the nineteenth century and porn adaptations of Lewis Carroll’s Alice books, Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, Oscar Wilde’s The Picture of Dorian Gray, and Bram Stoker’s Dracula, this book shows how these adaptations expose the implicit pornographic aspects of “legitimate” culture while also revealing the extent to which “high” and “low” genres rely on each other for self-definition. In the process, neo-Victorian pornographies draw on Gothic spaces and icons in order to situate itself as this Gothic other, utilizing the Gothic and the monstrous to craft a transformative, pornographic space. These neo-Victorian Gothic pornographies expose the way the genre as a whole emphasizes, navigates, transgresses, and renegotiates gender, sexuality, and race through the lens of history and legacy.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.001.0001
- Subject:
- Film, Television and Radio, Film
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 ...
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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 dynamic and distinctive – yet scarcely talked about – areas of contemporary British film production. Considering high-profile theatrical releases, including The Descent, Shaun of the Dead and The Woman in Black, as well as more obscure films such as The Devil’s Chair, Resurrecting the Street Walker and Cherry Tree Lane, Contemporary British Horror Cinema provides a thorough examination of British horror film production in the twenty-first century.Less
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 dynamic and distinctive – yet scarcely talked about – areas of contemporary British film production. Considering high-profile theatrical releases, including The Descent, Shaun of the Dead and The Woman in Black, as well as more obscure films such as The Devil’s Chair, Resurrecting the Street Walker and Cherry Tree Lane, Contemporary British Horror Cinema provides a thorough examination of British horror film production in the twenty-first century.
Jessica R. McCort (ed.)
- Published in print:
- 2016
- Published Online:
- May 2018
- ISBN:
- 9781496806444
- eISBN:
- 9781496806482
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496806444.001.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
Reading in the Dark: Horror in Children’s Literature and Culture is a collection of essays that seeks to consider gothic horror texts for children with the respect such texts deserve, weighing the ...
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Reading in the Dark: Horror in Children’s Literature and Culture is a collection of essays that seeks to consider gothic horror texts for children with the respect such texts deserve, weighing the multitude of benefits they can provide for young readers and viewers. It refuses to write off the horror genre as campy, trite, or deforming, instead recognizing that many of the children’s books and films categorized as “scary” are among those most widely read/viewed by children and young adults. It also considers how adult horror has been domesticated by children’s literature and culture, with authors and screenwriters turning that which was once utterly horrifying into safe, funny, and delightful books and films, along with the impetus behind such re-envisioning of the adult horror novel or film as something appropriate for the young. Especially today, when dark novels, shows, and films targeted toward children and young adults are proliferating with wild abandon, understanding the methods by which such texts have traditionally operated, as well as how those methods have been challenged, abandoned, and appropriated in recent years, becomes all the more crucial.Less
Reading in the Dark: Horror in Children’s Literature and Culture is a collection of essays that seeks to consider gothic horror texts for children with the respect such texts deserve, weighing the multitude of benefits they can provide for young readers and viewers. It refuses to write off the horror genre as campy, trite, or deforming, instead recognizing that many of the children’s books and films categorized as “scary” are among those most widely read/viewed by children and young adults. It also considers how adult horror has been domesticated by children’s literature and culture, with authors and screenwriters turning that which was once utterly horrifying into safe, funny, and delightful books and films, along with the impetus behind such re-envisioning of the adult horror novel or film as something appropriate for the young. Especially today, when dark novels, shows, and films targeted toward children and young adults are proliferating with wild abandon, understanding the methods by which such texts have traditionally operated, as well as how those methods have been challenged, abandoned, and appropriated in recent years, becomes all the more crucial.
Charity Vogel
- Published in print:
- 2013
- Published Online:
- August 2016
- ISBN:
- 9780801449086
- eISBN:
- 9780801469763
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801449086.001.0001
- Subject:
- History, American History: 19th Century
On December 18, 1867, an eastbound New York Express train derailed as it approached the high truss bridge over Big Sister Creek, just east of the small settlement of Angola, New York. The last two ...
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On December 18, 1867, an eastbound New York Express train derailed as it approached the high truss bridge over Big Sister Creek, just east of the small settlement of Angola, New York. The last two cars of the express train were pitched completely off the tracks and plummeted into the creek bed below. When they struck bottom, one of the wrecked cars was immediately engulfed in flames as the heating stoves in the coach spilled out coals and ignited its wooden timbers. The other car was badly smashed. About fifty people died at the bottom of the gorge or shortly thereafter, and dozens more were injured. The next day and in the weeks that followed, newspapers across the country carried news of the “Angola Horror,” one of the deadliest railroad accidents to that point in U.S. history. This book tells the gripping story of the train crash and the characters involved in the tragedy. It weaves together the stories of the people caught up in the disaster, the facts of the New York Express's fateful run, the fiery scenes in the creek ravine, and the subsequent legal, legislative, and journalistic search for answers to the question: what had happened at Angola, and why? The book sets the Angola Horror against a broader context of the developing technology of railroads, the culture of the nation's print media, the public policy legislation of the post-Civil War era, and the culture of death and mourning in the Victorian period.Less
On December 18, 1867, an eastbound New York Express train derailed as it approached the high truss bridge over Big Sister Creek, just east of the small settlement of Angola, New York. The last two cars of the express train were pitched completely off the tracks and plummeted into the creek bed below. When they struck bottom, one of the wrecked cars was immediately engulfed in flames as the heating stoves in the coach spilled out coals and ignited its wooden timbers. The other car was badly smashed. About fifty people died at the bottom of the gorge or shortly thereafter, and dozens more were injured. The next day and in the weeks that followed, newspapers across the country carried news of the “Angola Horror,” one of the deadliest railroad accidents to that point in U.S. history. This book tells the gripping story of the train crash and the characters involved in the tragedy. It weaves together the stories of the people caught up in the disaster, the facts of the New York Express's fateful run, the fiery scenes in the creek ravine, and the subsequent legal, legislative, and journalistic search for answers to the question: what had happened at Angola, and why? The book sets the Angola Horror against a broader context of the developing technology of railroads, the culture of the nation's print media, the public policy legislation of the post-Civil War era, and the culture of death and mourning in the Victorian period.
Deborah Martin
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780719090349
- eISBN:
- 9781526109606
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719090349.001.0001
- Subject:
- Film, Television and Radio, Film
Since the release of her debut feature, La ciénaga, in 2001, Argentine director Lucrecia Martel has gained worldwide recognition for her richly allusive, elliptical and sensorial film-making. The ...
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Since the release of her debut feature, La ciénaga, in 2001, Argentine director Lucrecia Martel has gained worldwide recognition for her richly allusive, elliptical and sensorial film-making. The first monograph on her work, The Cinema of Lucrecia Martel analyses her three feature films, which also include La niña santa (2004) and La mujer sin cabeza (2008), alongside the unstudied short films Nueva Argirópolis (2010), Pescados (2010) and Muta (2011). It examines the place of Martel’s work within the experimental turn taken by Argentine cinema in the late 1990s and early 2000s, a trend of which Martel is often described as a major player, yet also explores correspondences between her work and other national and global filmmaking trends, including the horror genre, and classic Hollywood. It brings together the rich and diverse critical approaches which have been taken in the analysis of Martel’s work – including feminist and queer approaches, political readings and phenomenology – and proposes new ways of understanding her films, in particular through their figuring of desire as revolutionary, their use of the child’s perspective, and their address to the senses and perception, which it argues serve to renew cinematic language and thought.Less
Since the release of her debut feature, La ciénaga, in 2001, Argentine director Lucrecia Martel has gained worldwide recognition for her richly allusive, elliptical and sensorial film-making. The first monograph on her work, The Cinema of Lucrecia Martel analyses her three feature films, which also include La niña santa (2004) and La mujer sin cabeza (2008), alongside the unstudied short films Nueva Argirópolis (2010), Pescados (2010) and Muta (2011). It examines the place of Martel’s work within the experimental turn taken by Argentine cinema in the late 1990s and early 2000s, a trend of which Martel is often described as a major player, yet also explores correspondences between her work and other national and global filmmaking trends, including the horror genre, and classic Hollywood. It brings together the rich and diverse critical approaches which have been taken in the analysis of Martel’s work – including feminist and queer approaches, political readings and phenomenology – and proposes new ways of understanding her films, in particular through their figuring of desire as revolutionary, their use of the child’s perspective, and their address to the senses and perception, which it argues serve to renew cinematic language and thought.
Jason Jacobs
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198742340
- eISBN:
- 9780191695018
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198742340.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
Television drama in the late 1940s seemed to have a continuing uncertainty about the themes, form, and style it was taking. This brings to fore the ways in which the television service during this ...
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Television drama in the late 1940s seemed to have a continuing uncertainty about the themes, form, and style it was taking. This brings to fore the ways in which the television service during this period was reddening itself with a prominent aid from television drama. Even though the post-war period saw an increase in the amount of drama on screen, repeat telecast of the plays was still considerable more reliable. The fact that mystery-murder and ‘horror’ productions were preferred during the post-war period along with drama with wartime themes, is exemplified by the late 1940s drama schedules of producing plays of the Gothic, supernatural, or thriller genres, generically known by television management as ‘Horror Plays’. The reopening of post-war service saw technical and stylistic changes such as those regarding camera movements, along with changes in programme content and scheduling.Less
Television drama in the late 1940s seemed to have a continuing uncertainty about the themes, form, and style it was taking. This brings to fore the ways in which the television service during this period was reddening itself with a prominent aid from television drama. Even though the post-war period saw an increase in the amount of drama on screen, repeat telecast of the plays was still considerable more reliable. The fact that mystery-murder and ‘horror’ productions were preferred during the post-war period along with drama with wartime themes, is exemplified by the late 1940s drama schedules of producing plays of the Gothic, supernatural, or thriller genres, generically known by television management as ‘Horror Plays’. The reopening of post-war service saw technical and stylistic changes such as those regarding camera movements, along with changes in programme content and scheduling.
Adam Bingham
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780748683734
- eISBN:
- 9781474412162
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748683734.001.0001
- Subject:
- Film, Television and Radio, Film
This book examines generic developments in contemporary Japanese cinema since 1997. Through close analysis of numerous texts it considers and contextualises new films in the most prevalent genres in ...
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This book examines generic developments in contemporary Japanese cinema since 1997. Through close analysis of numerous texts it considers and contextualises new films in the most prevalent genres in the country’s popular canon, placing them within historical, generic and authorial contexts and elucidating their formal, thematic and stylistic strategies and significance. It provides informed readings and analyses of a selection of important films by the country’s preeminent directors and further situates Japanese cinema within both western and Japanese discourse to consider how it has been variously conceptualised and canonized. Contemporary Japanese films are thus throughout placed within the lineage and tradition of earlier generations, and it is the ways in which the former either adheres and conforms to or subverts and transgresses these models that is the focus of this study. Patterns of repetition and variation are traced, alongside which the specific tenets of what, today, constitutes a national cinema are probed and questioned.Less
This book examines generic developments in contemporary Japanese cinema since 1997. Through close analysis of numerous texts it considers and contextualises new films in the most prevalent genres in the country’s popular canon, placing them within historical, generic and authorial contexts and elucidating their formal, thematic and stylistic strategies and significance. It provides informed readings and analyses of a selection of important films by the country’s preeminent directors and further situates Japanese cinema within both western and Japanese discourse to consider how it has been variously conceptualised and canonized. Contemporary Japanese films are thus throughout placed within the lineage and tradition of earlier generations, and it is the ways in which the former either adheres and conforms to or subverts and transgresses these models that is the focus of this study. Patterns of repetition and variation are traced, alongside which the specific tenets of what, today, constitutes a national cinema are probed and questioned.
Richard J. Hand
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780719081484
- eISBN:
- 9781781707265
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719081484.003.0011
- Subject:
- Film, Television and Radio, Radio
A concluding chapter which sums up the effectiveness of audio drama and looks at core themes such as TECHNOLOGY; EVP; MEDICAL; NATURAL WORLD; LOCATION; SPATIAL; SENSORY DEPRIVATION; ...
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A concluding chapter which sums up the effectiveness of audio drama and looks at core themes such as TECHNOLOGY; EVP; MEDICAL; NATURAL WORLD; LOCATION; SPATIAL; SENSORY DEPRIVATION; DREAMS/NIGHTMARES. Techniques such as SUBJECTIVE/OBJECTIVE MEDIATION; the SCREAM and SILENCE are also discussed.Less
A concluding chapter which sums up the effectiveness of audio drama and looks at core themes such as TECHNOLOGY; EVP; MEDICAL; NATURAL WORLD; LOCATION; SPATIAL; SENSORY DEPRIVATION; DREAMS/NIGHTMARES. Techniques such as SUBJECTIVE/OBJECTIVE MEDIATION; the SCREAM and SILENCE are also discussed.
Gary Bettinson and Daniel Martin (eds)
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474424592
- eISBN:
- 9781474444705
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474424592.001.0001
- Subject:
- Film, Television and Radio, Film
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 ...
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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, The Eye, Dumplings, and Rigor Mortis, the region’s filmmakers have pushed the boundaries of genre, cinematic style, and bad taste. But what makes Hong Kong horror cinema so utterly unique? How has this cult tradition developed over time? Why does it hold such fascination for “serious” cinephiles and cult fans alike? And how have Hong Kong horror movies shaped the genre internationally? This book provides answers to such questions, celebrating the classics of the genre while introducing readers to lesser known films. Hong Kong Horror Cinema is the first book about this delirious and captivating cinematic tradition.Less
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, The Eye, Dumplings, and Rigor Mortis, the region’s filmmakers have pushed the boundaries of genre, cinematic style, and bad taste. But what makes Hong Kong horror cinema so utterly unique? How has this cult tradition developed over time? Why does it hold such fascination for “serious” cinephiles and cult fans alike? And how have Hong Kong horror movies shaped the genre internationally? This book provides answers to such questions, celebrating the classics of the genre while introducing readers to lesser known films. Hong Kong Horror Cinema is the first book about this delirious and captivating cinematic tradition.
Terence McSweeney (ed.)
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781474413817
- eISBN:
- 9781474430456
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474413817.001.0001
- Subject:
- Film, Television and Radio, Film
American Cinema in the Shadow of 9/11 is a ground-breaking collection of essays by some of the foremost scholars writing in the field of contemporary American film. Through a dynamic critical ...
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American Cinema in the Shadow of 9/11 is a ground-breaking collection of essays by some of the foremost scholars writing in the field of contemporary American film. Through a dynamic critical analysis of the defining films of the turbulent post-9/11 decade, the volume explores and interrogates the impact of 9/11 and the 'War on Terror' on American cinema and culture. In a vibrant discussion of films like American Sniper (2014), Zero Dark Thirty (2012), Spectre (2015), The Hateful Eight (2015), Lincoln (2012), The Mist (2007), Children of Men (2006), Edge of Tomorrow (2014) and Avengers: Age of Ultron> (2015), noted authors Geoff King, Guy Westwell, John Shelton Lawrence, Ian Scott, Andrew Schopp, James Kendrick, Sean Redmond, Steffen Hantke and many others consider the power of popular film to function as a potent cultural artefact, able to both reflect the defining fears and anxieties of the tumultuous era, but also shape them in compelling and resonant ways.Less
American Cinema in the Shadow of 9/11 is a ground-breaking collection of essays by some of the foremost scholars writing in the field of contemporary American film. Through a dynamic critical analysis of the defining films of the turbulent post-9/11 decade, the volume explores and interrogates the impact of 9/11 and the 'War on Terror' on American cinema and culture. In a vibrant discussion of films like American Sniper (2014), Zero Dark Thirty (2012), Spectre (2015), The Hateful Eight (2015), Lincoln (2012), The Mist (2007), Children of Men (2006), Edge of Tomorrow (2014) and Avengers: Age of Ultron> (2015), noted authors Geoff King, Guy Westwell, John Shelton Lawrence, Ian Scott, Andrew Schopp, James Kendrick, Sean Redmond, Steffen Hantke and many others consider the power of popular film to function as a potent cultural artefact, able to both reflect the defining fears and anxieties of the tumultuous era, but also shape them in compelling and resonant ways.
Bradley J. Birzer
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780813166186
- eISBN:
- 9780813166643
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813166186.003.0008
- Subject:
- Political Science, American Politics
Unbeknownst to most lovers of the horror genre in fiction, the famous and well-published Russell Kirk is also the same Russell Kirk who founded postwar conservatism. Beginning in the late 1940s, Kirk ...
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Unbeknownst to most lovers of the horror genre in fiction, the famous and well-published Russell Kirk is also the same Russell Kirk who founded postwar conservatism. Beginning in the late 1940s, Kirk began to write a series of profitable short stories for periodicals. He published his first novel, Old House of Fear, in 1961 and continued to publish his fiction until the end of his life. Most of his stories deals with theological issues as well as issues of place and region.Less
Unbeknownst to most lovers of the horror genre in fiction, the famous and well-published Russell Kirk is also the same Russell Kirk who founded postwar conservatism. Beginning in the late 1940s, Kirk began to write a series of profitable short stories for periodicals. He published his first novel, Old House of Fear, in 1961 and continued to publish his fiction until the end of his life. Most of his stories deals with theological issues as well as issues of place and region.
Daniel Kremer
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780813165967
- eISBN:
- 9780813166742
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813165967.003.0011
- Subject:
- Film, Television and Radio, Film
Furie is cast at bay for a time, attempting to put a project together and trying to reconcile the stigma attached to his name. Another chance at redemption arrives with The Entity (1982), a risky ...
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Furie is cast at bay for a time, attempting to put a project together and trying to reconcile the stigma attached to his name. Another chance at redemption arrives with The Entity (1982), a risky horror film involving a woman who is repeatedly raped and assaulted by an invisible demon. The highly stylish film stands as one of Furie’s better production experiences, and the film is met with mixed reviews and respectable box-office (and gains a solid reputation with the passing of years). He follows this up with Purple Hearts (1984), a Vietnam War romance between a Navy M.D. and an Army nurse. This film is panned and barely returns its scant original investment.Less
Furie is cast at bay for a time, attempting to put a project together and trying to reconcile the stigma attached to his name. Another chance at redemption arrives with The Entity (1982), a risky horror film involving a woman who is repeatedly raped and assaulted by an invisible demon. The highly stylish film stands as one of Furie’s better production experiences, and the film is met with mixed reviews and respectable box-office (and gains a solid reputation with the passing of years). He follows this up with Purple Hearts (1984), a Vietnam War romance between a Navy M.D. and an Army nurse. This film is panned and barely returns its scant original investment.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.003.0001
- Subject:
- Film, Television and Radio, Film
Contemporary British Horror Cinema: Industry, Genre and Society charts the rebirth of the British horror film in the twenty-first century, paying close attention to both the cultural and economic ...
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Contemporary British Horror Cinema: Industry, Genre and Society charts the rebirth of the British horror film in the twenty-first century, paying close attention to both the cultural and economic factors that contributed to the horror genre’s buoyancy amid UK film production. Using primary research – including data from funding institutions and primary interview material with key industry players – and detailed film analysis, this book will show in what ways horror offered a significant contribution to British film production post-2000, and how it evidenced diversity across a broad spectrum of filmmakers, industrial trends, technologies and social issues.Less
Contemporary British Horror Cinema: Industry, Genre and Society charts the rebirth of the British horror film in the twenty-first century, paying close attention to both the cultural and economic factors that contributed to the horror genre’s buoyancy amid UK film production. Using primary research – including data from funding institutions and primary interview material with key industry players – and detailed film analysis, this book will show in what ways horror offered a significant contribution to British film production post-2000, and how it evidenced diversity across a broad spectrum of filmmakers, industrial trends, technologies and social issues.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.003.0002
- Subject:
- Film, Television and Radio, Film
Chapter 2 contemplates why British horror was revived at the dawning of the new millennium, and also considers some of the reasons why British horror films produced in the 2000s and 2010s can be ...
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Chapter 2 contemplates why British horror was revived at the dawning of the new millennium, and also considers some of the reasons why British horror films produced in the 2000s and 2010s can be viewed as constituting a distinctive aspect of contemporary British cinema. I discuss the establishment of the UK Film Council (UKFC) in 2000 and contextualise the contemporary British horror film in the international film marketplace, drawing parallels between British horror and British film production more broadly, British horror and international horror production, and the audience demographics targeted by distributers and film production companies. This involves examining British horror’s shift from a theatrical genre to one associated primarily with the home video and online market.Less
Chapter 2 contemplates why British horror was revived at the dawning of the new millennium, and also considers some of the reasons why British horror films produced in the 2000s and 2010s can be viewed as constituting a distinctive aspect of contemporary British cinema. I discuss the establishment of the UK Film Council (UKFC) in 2000 and contextualise the contemporary British horror film in the international film marketplace, drawing parallels between British horror and British film production more broadly, British horror and international horror production, and the audience demographics targeted by distributers and film production companies. This involves examining British horror’s shift from a theatrical genre to one associated primarily with the home video and online market.
Charity Vogel
- Published in print:
- 2013
- Published Online:
- August 2016
- ISBN:
- 9780801449086
- eISBN:
- 9780801469763
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801449086.003.0019
- Subject:
- History, American History: 19th Century
This postscript provides an overview of what happened to some of the important figures in the Angola Horror after the tragedy. It begins with John Davison Rockefeller, who went on to become one of ...
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This postscript provides an overview of what happened to some of the important figures in the Angola Horror after the tragedy. It begins with John Davison Rockefeller, who went on to become one of the richest men in the world and then turns to Charles Lobdell, the newspaper editor, who never made it to his Christmas wedding but whose memory lived on in the imaginations of those who knew him. It then looks at Henrietta Bennett and Dr. Romaine J. Curtiss, who fell in love with each other and got married (sadly, their marriage did not last long); Christiana Gates Lang, who recovered from her injuries and later remarried; Josiah Southwick and his wife, Huldah, who moved to Montana in 1892; and Benjamin Franklin Sherman, who stepped down from the post of conductor. The chapter also looks at what happened to the Buffalo and Erie Railroad, which became part of the Lake Shore and Michigan Southern Railway a little over two years after the wreck.Less
This postscript provides an overview of what happened to some of the important figures in the Angola Horror after the tragedy. It begins with John Davison Rockefeller, who went on to become one of the richest men in the world and then turns to Charles Lobdell, the newspaper editor, who never made it to his Christmas wedding but whose memory lived on in the imaginations of those who knew him. It then looks at Henrietta Bennett and Dr. Romaine J. Curtiss, who fell in love with each other and got married (sadly, their marriage did not last long); Christiana Gates Lang, who recovered from her injuries and later remarried; Josiah Southwick and his wife, Huldah, who moved to Montana in 1892; and Benjamin Franklin Sherman, who stepped down from the post of conductor. The chapter also looks at what happened to the Buffalo and Erie Railroad, which became part of the Lake Shore and Michigan Southern Railway a little over two years after the wreck.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.003.0003
- Subject:
- Film, Television and Radio, Film
Chapter 3, in light of the broader international concerns outlined in the previous chapter, works towards locating cultural specificities within British horror at a time when it has drifted from its ...
More
Chapter 3, in light of the broader international concerns outlined in the previous chapter, works towards locating cultural specificities within British horror at a time when it has drifted from its better known ‘English’ heritage. By considering the social and historical context during which many contemporary filmmakers grew up (namely, the late 1970s and 1980s), I reassess how recent British horror’s ‘heritage’ may be more immediate than we initially presume. To do this, I argue that several films responded to the typically negative British critical response to horror cinema (Petley 2002a), and, through textual analysis, argue that such films are products inspired by nostalgia for the video nasties panic of the 1980s. Through doing so, I consider how cultural specificity can be extracted from films by directors who not only have a passion for the horror film (that is, are self-confessed fans of the genre), but are also aware of how British horror (and horror in Britain) has been figured and derided within British culture.Less
Chapter 3, in light of the broader international concerns outlined in the previous chapter, works towards locating cultural specificities within British horror at a time when it has drifted from its better known ‘English’ heritage. By considering the social and historical context during which many contemporary filmmakers grew up (namely, the late 1970s and 1980s), I reassess how recent British horror’s ‘heritage’ may be more immediate than we initially presume. To do this, I argue that several films responded to the typically negative British critical response to horror cinema (Petley 2002a), and, through textual analysis, argue that such films are products inspired by nostalgia for the video nasties panic of the 1980s. Through doing so, I consider how cultural specificity can be extracted from films by directors who not only have a passion for the horror film (that is, are self-confessed fans of the genre), but are also aware of how British horror (and horror in Britain) has been figured and derided within British culture.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.003.0004
- Subject:
- Film, Television and Radio, Film
In Chapter 4, I extend some of the issues surrounding fan filmmakers as discussed in the previous chapter, and deliberate the representation of masculinity and cult film fandom within a series of ...
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In Chapter 4, I extend some of the issues surrounding fan filmmakers as discussed in the previous chapter, and deliberate the representation of masculinity and cult film fandom within a series of horror-comedy hybrids. Through acknowledgement of the ways in which cult film fandom has traditionally been gendered as ‘male’, and often as immature, crude and boyish, I draw parallels between recent horror-comedies that use these stereotypes as ironic self-critiques of the filmmakers’ themselves and their desired audience. I ultimately locate these films within discourses surrounding ‘New Lad’ culture of the 1990s, which has similarly been linked to contemporary cult film fandom (Hollows 2003; Read 2003). Through a discussion of themes, industry statistics and textual analysis, I show how films such as Shaun of the Dead, Doghouse and Lesbian Vampire Killers satirise the social marginality of laddish behaviour by placing fannish ‘New Lad’ types within a horror film environment, thus literalising many of the stereotypes that have figured within contemporary academic writing on cult film audiences. Less
In Chapter 4, I extend some of the issues surrounding fan filmmakers as discussed in the previous chapter, and deliberate the representation of masculinity and cult film fandom within a series of horror-comedy hybrids. Through acknowledgement of the ways in which cult film fandom has traditionally been gendered as ‘male’, and often as immature, crude and boyish, I draw parallels between recent horror-comedies that use these stereotypes as ironic self-critiques of the filmmakers’ themselves and their desired audience. I ultimately locate these films within discourses surrounding ‘New Lad’ culture of the 1990s, which has similarly been linked to contemporary cult film fandom (Hollows 2003; Read 2003). Through a discussion of themes, industry statistics and textual analysis, I show how films such as Shaun of the Dead, Doghouse and Lesbian Vampire Killers satirise the social marginality of laddish behaviour by placing fannish ‘New Lad’ types within a horror film environment, thus literalising many of the stereotypes that have figured within contemporary academic writing on cult film audiences.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.003.0006
- Subject:
- Film, Television and Radio, Film
Chapter 6 returns to industry, and charts the re-emergence of Hammer Films, which, after thirty years, finally went back into film production in the 2000s. Drawing from primary sources such as the ...
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Chapter 6 returns to industry, and charts the re-emergence of Hammer Films, which, after thirty years, finally went back into film production in the 2000s. Drawing from primary sources such as the industry trade press and interviews, the chapter reflects on Hammer’s recent history, considering briefly the tumultuous 1980s and 1990s, before assessing the company’s market positioning between its re-launch in 2007 with the web serial Beyond the Rave (Matthias Hoene, 2008), through its theatrical success with the blockbuster The Woman in Black in 2012, up until the release of its lower-budgeted ghost story, The Quiet Ones (John Pogue) in 2014. Ultimately, taking into account Hammer’s prominence in much discourse around classic British horror, I use its millennial incarnation to assess its relevance (or not) to the identity of British horror in the twenty-first century.Less
Chapter 6 returns to industry, and charts the re-emergence of Hammer Films, which, after thirty years, finally went back into film production in the 2000s. Drawing from primary sources such as the industry trade press and interviews, the chapter reflects on Hammer’s recent history, considering briefly the tumultuous 1980s and 1990s, before assessing the company’s market positioning between its re-launch in 2007 with the web serial Beyond the Rave (Matthias Hoene, 2008), through its theatrical success with the blockbuster The Woman in Black in 2012, up until the release of its lower-budgeted ghost story, The Quiet Ones (John Pogue) in 2014. Ultimately, taking into account Hammer’s prominence in much discourse around classic British horror, I use its millennial incarnation to assess its relevance (or not) to the identity of British horror in the twenty-first century.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter, as a means of closure, will reflect briefly on the key issues that have been addressed over the last six chapters, before considering some of the directions that the study of British ...
More
This chapter, as a means of closure, will reflect briefly on the key issues that have been addressed over the last six chapters, before considering some of the directions that the study of British horror cinema could – or, indeed, should – take in the future. It is hoped that this chapter will provide a springboard for further scholarship that will be as dynamic as the films themselves.Less
This chapter, as a means of closure, will reflect briefly on the key issues that have been addressed over the last six chapters, before considering some of the directions that the study of British horror cinema could – or, indeed, should – take in the future. It is hoped that this chapter will provide a springboard for further scholarship that will be as dynamic as the films themselves.
Judith Leggatt (ed.)
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496815118
- eISBN:
- 9781496815156
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496815118.003.0007
- Subject:
- Literature, Comics Studies
This chapter offers a close reading of Merk and Martell’s Nowadays, a locally-produced graphic novel from Thunder Bay. The graphic novel explicitly links its plot and theme to the geographical ...
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This chapter offers a close reading of Merk and Martell’s Nowadays, a locally-produced graphic novel from Thunder Bay. The graphic novel explicitly links its plot and theme to the geographical location in which it is set, localizing its exploration of zombification. Unlike narratives that use the zombie as a generalized trope of mindless consumption, or of racial otherness, or of terrorism, or of pandemic infection, Merk and Martell use the zombie apocalypse genre to explore issues of personal responsibility and individual choice within a framework that is both cross-cultural and emphatically local.Less
This chapter offers a close reading of Merk and Martell’s Nowadays, a locally-produced graphic novel from Thunder Bay. The graphic novel explicitly links its plot and theme to the geographical location in which it is set, localizing its exploration of zombification. Unlike narratives that use the zombie as a generalized trope of mindless consumption, or of racial otherness, or of terrorism, or of pandemic infection, Merk and Martell use the zombie apocalypse genre to explore issues of personal responsibility and individual choice within a framework that is both cross-cultural and emphatically local.
