Julie A. Turnock
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780231163538
- eISBN:
- 9780231535274
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231163538.003.0001
- Subject:
- Film, Television and Radio, Film
This chapter discusses studio-era special effects from the 1930s to the 1960s, and 1970s special effects. The studio era had mostly been concerned with maintaining the more naturalistic “classical” ...
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This chapter discusses studio-era special effects from the 1930s to the 1960s, and 1970s special effects. The studio era had mostly been concerned with maintaining the more naturalistic “classical” style. Most importantly, special effects in the studio era were achieved as simply, economically, and efficiently as possible. By the 1970s, special effects became conspicuous and a more visible form of special effects emerged. Filmmaking in the 1970s tends to be divided into two periods—the naturalistic “New Wave” period and the spectacular “blockbuster” era. However, filmmakers like Lucas, Coppola, and Spielberg suggest that they saw the turn toward intensified, visible special effects as enabling an alternative style of realism. The technological prominence of special effects in the 1970s eventually transformed almost all the areas of cinematic production.Less
This chapter discusses studio-era special effects from the 1930s to the 1960s, and 1970s special effects. The studio era had mostly been concerned with maintaining the more naturalistic “classical” style. Most importantly, special effects in the studio era were achieved as simply, economically, and efficiently as possible. By the 1970s, special effects became conspicuous and a more visible form of special effects emerged. Filmmaking in the 1970s tends to be divided into two periods—the naturalistic “New Wave” period and the spectacular “blockbuster” era. However, filmmakers like Lucas, Coppola, and Spielberg suggest that they saw the turn toward intensified, visible special effects as enabling an alternative style of realism. The technological prominence of special effects in the 1970s eventually transformed almost all the areas of cinematic production.
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 ...
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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.
Gordana P. Crnković
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780804784023
- eISBN:
- 9780804787345
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804784023.003.0008
- Subject:
- History, European Modern History
While political elites and new governments continue to assert the distinctiveness of the Yugoslav successor states and the nonconnection with a shared Yugoslav past, the art created in the region in ...
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While political elites and new governments continue to assert the distinctiveness of the Yugoslav successor states and the nonconnection with a shared Yugoslav past, the art created in the region in the last two decades seems to frequently make, assume, and even emphasize these connections. This chapter offers a brief sample catalog of such works and the ways in which they enact the above connections, including references to Yugoslav-era works (of the other independent states) in post-Yugoslav literary and cinematic production, and the common interstate connections in post-Yugoslav cinema production. The chapter also points to one feature discernible in select contemporary literature and cinema that could be identified as an aspect rooted in the region’s connection with its Yugoslav past. Finally, the author mentions some of the most literal instances of bringing back, retrieving, and reactivating the Yugoslav intellectual and artistic past into the present.Less
While political elites and new governments continue to assert the distinctiveness of the Yugoslav successor states and the nonconnection with a shared Yugoslav past, the art created in the region in the last two decades seems to frequently make, assume, and even emphasize these connections. This chapter offers a brief sample catalog of such works and the ways in which they enact the above connections, including references to Yugoslav-era works (of the other independent states) in post-Yugoslav literary and cinematic production, and the common interstate connections in post-Yugoslav cinema production. The chapter also points to one feature discernible in select contemporary literature and cinema that could be identified as an aspect rooted in the region’s connection with its Yugoslav past. Finally, the author mentions some of the most literal instances of bringing back, retrieving, and reactivating the Yugoslav intellectual and artistic past into the present.
