Martyn Conterio
- Published in print:
- 2015
- Published Online:
- February 2021
- ISBN:
- 9781906733834
- eISBN:
- 9781800342156
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781906733834.001.0001
- Subject:
- Film, Television and Radio, Film
Despite its reputation as one of the greatest and most influential of all horror films, there is surprisingly little literature dedicated to Mario Bava's Black Sunday (1960), and this work is the ...
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Despite its reputation as one of the greatest and most influential of all horror films, there is surprisingly little literature dedicated to Mario Bava's Black Sunday (1960), and this work is the first single book dedicated to it. This book places the film in the historical context of being one of the first sound Italian horror films and how its success kick-started the Italian horror boom. It considers the particularly Italian perspective on the gothic that the film pioneered and its fresh and pioneering approach to horror tropes such as the vampire and the witch and considers how the casting of British 'Scream Queen' Barbara Steele was crucial to the film's effectiveness and success.Less
Despite its reputation as one of the greatest and most influential of all horror films, there is surprisingly little literature dedicated to Mario Bava's Black Sunday (1960), and this work is the first single book dedicated to it. This book places the film in the historical context of being one of the first sound Italian horror films and how its success kick-started the Italian horror boom. It considers the particularly Italian perspective on the gothic that the film pioneered and its fresh and pioneering approach to horror tropes such as the vampire and the witch and considers how the casting of British 'Scream Queen' Barbara Steele was crucial to the film's effectiveness and success.
Simon Brown
- Published in print:
- 2019
- Published Online:
- February 2021
- ISBN:
- 9781911325918
- eISBN:
- 9781800342477
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325918.001.0001
- Subject:
- Film, Television and Radio, Film
Released in cinemas in 1982, Creepshow is typically regarded as a minor entry in both the film output of George A. Romero and the history of adaptations of the works of Stephen King. Yet this lack of ...
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Released in cinemas in 1982, Creepshow is typically regarded as a minor entry in both the film output of George A. Romero and the history of adaptations of the works of Stephen King. Yet this lack of critical attention hides the fact that Creepshow is the only full collaboration between America's bestselling author of horror tales and one of the masters of modern American horror cinema. Long considered too mainstream for the director of Dawn of the Dead (1978), too comic for the author that gave audiences the film versions of Carrie (1976) and The Shining (1980), and too violent for a cinemagoing public turning away from gore cinema in the autumn of 1982, Creepshow is here reassessed. The book examines the making and release of the film and its legacy through a comic-book adaptation and two sequels. The book's analysis focuses on the key influences on the film, not just Romero and King, but also the anthology horrors of Amicus Productions, body horror cinema, and the special make-up effects of Tom Savini, the relationship between horror and humour, and most notably the tradition of EC horror comics of the 1950s, from which the film draws both its thematic preoccupations and its visual style. Ultimately the book argues that not only is Creepshow a major work in the canons of Romero and King, but also that it represents a significant example of the portmanteau horror film, of the blending of horror and comedy, and finally, decades before the career of Zack Snyder (Watchmen, Man of Steel), of attempting to recreate a comic book aesthetic on the big screen.Less
Released in cinemas in 1982, Creepshow is typically regarded as a minor entry in both the film output of George A. Romero and the history of adaptations of the works of Stephen King. Yet this lack of critical attention hides the fact that Creepshow is the only full collaboration between America's bestselling author of horror tales and one of the masters of modern American horror cinema. Long considered too mainstream for the director of Dawn of the Dead (1978), too comic for the author that gave audiences the film versions of Carrie (1976) and The Shining (1980), and too violent for a cinemagoing public turning away from gore cinema in the autumn of 1982, Creepshow is here reassessed. The book examines the making and release of the film and its legacy through a comic-book adaptation and two sequels. The book's analysis focuses on the key influences on the film, not just Romero and King, but also the anthology horrors of Amicus Productions, body horror cinema, and the special make-up effects of Tom Savini, the relationship between horror and humour, and most notably the tradition of EC horror comics of the 1950s, from which the film draws both its thematic preoccupations and its visual style. Ultimately the book argues that not only is Creepshow a major work in the canons of Romero and King, but also that it represents a significant example of the portmanteau horror film, of the blending of horror and comedy, and finally, decades before the career of Zack Snyder (Watchmen, Man of Steel), of attempting to recreate a comic book aesthetic on the big screen.
James Marriott
- Published in print:
- 2013
- Published Online:
- February 2021
- ISBN:
- 9781906733711
- eISBN:
- 9781800342101
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781906733711.001.0001
- Subject:
- Film, Television and Radio, Film
The story of an all-female caving expedition gone horribly wrong, The Descent (2005) is arguably the best of the mid-2000s horror entries to return verve and intensity to the genre. Unlike its peers ...
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The story of an all-female caving expedition gone horribly wrong, The Descent (2005) is arguably the best of the mid-2000s horror entries to return verve and intensity to the genre. Unlike its peers (Saw [2004], Hostel [2011], etc.), The Descent was both commercially and critically popular, providing a genuine version of what other films could only produce as pastiche. For Mark Kermode, writing in the Observer, it was “one of the best British horror films of recent years,” and Derek Elley in Variety described it as “an object lesson in making a tightly-budgeted, no-star horror pic.” Time Out's critic praised “this fiercely entertaining British horror movie;” while Rolling Stone's Peter Travers warned prospective viewers to “prepare to be scared senseless.” Emphasizing female characters and camaraderie, The Descent is an ideal springboard for discussing underexplored horror themes: the genre's engagement with the lure of the archaic; the idea of birth as the foundational human trauma and its implications for horror film criticism; and the use of provisional worldviews, or “rubber realities,” in horror.Less
The story of an all-female caving expedition gone horribly wrong, The Descent (2005) is arguably the best of the mid-2000s horror entries to return verve and intensity to the genre. Unlike its peers (Saw [2004], Hostel [2011], etc.), The Descent was both commercially and critically popular, providing a genuine version of what other films could only produce as pastiche. For Mark Kermode, writing in the Observer, it was “one of the best British horror films of recent years,” and Derek Elley in Variety described it as “an object lesson in making a tightly-budgeted, no-star horror pic.” Time Out's critic praised “this fiercely entertaining British horror movie;” while Rolling Stone's Peter Travers warned prospective viewers to “prepare to be scared senseless.” Emphasizing female characters and camaraderie, The Descent is an ideal springboard for discussing underexplored horror themes: the genre's engagement with the lure of the archaic; the idea of birth as the foundational human trauma and its implications for horror film criticism; and the use of provisional worldviews, or “rubber realities,” in horror.
Michael Blyth
- Published in print:
- 2018
- Published Online:
- February 2021
- ISBN:
- 9781911325406
- eISBN:
- 9781800342293
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325406.001.0001
- Subject:
- Film, Television and Radio, Film
Somewhat overlooked upon its initial release in 1995, John Carpenter's In the Mouth of Madness has since developed a healthy cult reputation. But far more than simply a fan favourite, this closing ...
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Somewhat overlooked upon its initial release in 1995, John Carpenter's In the Mouth of Madness has since developed a healthy cult reputation. But far more than simply a fan favourite, this closing instalment of the acclaimed director's self-described “apocalypse trilogy” (following The Thing and Prince Of Darkness) stands today as one of his most thematically complex and stylistically audacious pieces of work. The story of an insurance investigator drawn into the supposedly fictional universe of a best-selling horror novelist, the film is an extension of many recurring themes found in Carpenter's filmography (the end of the world, the loss of free will, a distrust of mass industry and global corporations, the cataclysmic resurgence of ancient evil), as well as an affectionate homage to the works of H. P. Lovecraft (and horror literature more broadly) and a self-reflexive celebration of the horror genre that predates the Scream-inspired postmodernist boom of late-nineties genre cinema. While numerous books and countless academic essays have been written about Carpenter's work, surprisingly little has focused exclusively on In the Mouth of Madness, a film which feels more prescient, more essential, and more daringly complex than ever. This book seeks to redress this imbalance, at last positioning this overlooked masterpiece as essential Carpenter.Less
Somewhat overlooked upon its initial release in 1995, John Carpenter's In the Mouth of Madness has since developed a healthy cult reputation. But far more than simply a fan favourite, this closing instalment of the acclaimed director's self-described “apocalypse trilogy” (following The Thing and Prince Of Darkness) stands today as one of his most thematically complex and stylistically audacious pieces of work. The story of an insurance investigator drawn into the supposedly fictional universe of a best-selling horror novelist, the film is an extension of many recurring themes found in Carpenter's filmography (the end of the world, the loss of free will, a distrust of mass industry and global corporations, the cataclysmic resurgence of ancient evil), as well as an affectionate homage to the works of H. P. Lovecraft (and horror literature more broadly) and a self-reflexive celebration of the horror genre that predates the Scream-inspired postmodernist boom of late-nineties genre cinema. While numerous books and countless academic essays have been written about Carpenter's work, surprisingly little has focused exclusively on In the Mouth of Madness, a film which feels more prescient, more essential, and more daringly complex than ever. This book seeks to redress this imbalance, at last positioning this overlooked masterpiece as essential Carpenter.
Jon Towlson
- Published in print:
- 2018
- Published Online:
- February 2021
- ISBN:
- 9781911325543
- eISBN:
- 9781800342347
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325543.001.0001
- Subject:
- Film, Television and Radio, Film
When Candyman was released in 1992, Roger Ebert gave it his thumbs up, remarking that the film was “scaring him with ideas and gore, rather than just gore.” Indeed, Candyman is almost unique in 1990s ...
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When Candyman was released in 1992, Roger Ebert gave it his thumbs up, remarking that the film was “scaring him with ideas and gore, rather than just gore.” Indeed, Candyman is almost unique in 1990s horror cinema in that it tackles its sociopolitical themes head on. As critic Kirsten Moana Thompson has remarked, Candyman is “the return of the repressed as national allegory”: the film's hook-handed killer of urban legend embodies a history of racism, miscegenation, lynching, and slavery, “the taboo secrets of America's past and present.” This book considers how Candyman might be read both as a “return of the repressed” during the George H. W. Bush era, and as an example of nineties neoconservative horror. It traces the project's development from its origins as a Clive Barker short story (The Forbidden); discusses the importance of its gritty real-life Cabrini-Green setting; and analyzes the film's appropriation (and interrogation) of urban myth. The two official sequels (Candyman: Farewell to the Flesh [1995] and Candyman: Day of the Dead [1999]) are also considered, plus a number of other urban myth-inspired horror movies such as Bloody Mary (2006) and films in the Urban Legend franchise. The book features an in-depth interview with Candyman's writer-director Bernard Rose.Less
When Candyman was released in 1992, Roger Ebert gave it his thumbs up, remarking that the film was “scaring him with ideas and gore, rather than just gore.” Indeed, Candyman is almost unique in 1990s horror cinema in that it tackles its sociopolitical themes head on. As critic Kirsten Moana Thompson has remarked, Candyman is “the return of the repressed as national allegory”: the film's hook-handed killer of urban legend embodies a history of racism, miscegenation, lynching, and slavery, “the taboo secrets of America's past and present.” This book considers how Candyman might be read both as a “return of the repressed” during the George H. W. Bush era, and as an example of nineties neoconservative horror. It traces the project's development from its origins as a Clive Barker short story (The Forbidden); discusses the importance of its gritty real-life Cabrini-Green setting; and analyzes the film's appropriation (and interrogation) of urban myth. The two official sequels (Candyman: Farewell to the Flesh [1995] and Candyman: Day of the Dead [1999]) are also considered, plus a number of other urban myth-inspired horror movies such as Bloody Mary (2006) and films in the Urban Legend franchise. The book features an in-depth interview with Candyman's writer-director Bernard Rose.
Ben Poole
- Published in print:
- 2011
- Published Online:
- February 2021
- ISBN:
- 9781906733568
- eISBN:
- 9781800342057
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781906733568.001.0001
- Subject:
- Film, Television and Radio, Film
Like all game changers within the horror genre, SAW was an independent success, a low-budget champion that flourished without the patronage of a big studio. Not bad for the most successful horror ...
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Like all game changers within the horror genre, SAW was an independent success, a low-budget champion that flourished without the patronage of a big studio. Not bad for the most successful horror franchise ever, which has spawned subsidiary media and masses of merchandise, including a theme park rollercoaster ride. What is it about SAW that attracted such a following? This book considers the SAW phenomenon from all aspects of film and media studies — from its generic pedigree in both literature and film, to the visceral audience pleasures (“what would I do?”) of the text, to the contrasting representations of men and women and the film's implicit criticism of masculinity.Less
Like all game changers within the horror genre, SAW was an independent success, a low-budget champion that flourished without the patronage of a big studio. Not bad for the most successful horror franchise ever, which has spawned subsidiary media and masses of merchandise, including a theme park rollercoaster ride. What is it about SAW that attracted such a following? This book considers the SAW phenomenon from all aspects of film and media studies — from its generic pedigree in both literature and film, to the visceral audience pleasures (“what would I do?”) of the text, to the contrasting representations of men and women and the film's implicit criticism of masculinity.
Alexandra Heller-Nicholas
- Published in print:
- 2015
- Published Online:
- February 2021
- ISBN:
- 9780993238475
- eISBN:
- 9781800341982
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9780993238475.001.0001
- Subject:
- Film, Television and Radio, Film
As one of the most globally recognisable instances of 20th-century Eurohorror, Dario Argento's Suspiria (1976) is poetic, chaotic, and intriguing. The cult reputation of Argento's baroque nightmare ...
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As one of the most globally recognisable instances of 20th-century Eurohorror, Dario Argento's Suspiria (1976) is poetic, chaotic, and intriguing. The cult reputation of Argento's baroque nightmare is reflected in the critical praise it continues to receive almost 40 years after its original release, and it appears regularly on lists of the greatest horror films ever. For fans and critics alike, Suspiria is as mesmerising as it is impenetrable: the impact of Argento's notorious disinterest in matters of plot and characterisation combines with Suspiria's aggressive stylistic hyperactivity to render it a movie that needs to be experienced through the body as much as through emotion or the intellect. For its many fans, Suspiria is synonymous with European horror more broadly, and Argento himself is by far the most famous of all the Italian horror directors. If there was any doubt of his status as one of the great horror auteurs, Argento's international reputation was solidified well beyond the realms of cult fandom in the 1990s with retrospectives at both the American Museum of the Moving Image and the British Film Institute. This book considers the complex ways that Argento weaves together light, sound and cinema history to construct one of the most breathtaking horror movies of all time, a film as fascinating as it is ultimately unfathomable.Less
As one of the most globally recognisable instances of 20th-century Eurohorror, Dario Argento's Suspiria (1976) is poetic, chaotic, and intriguing. The cult reputation of Argento's baroque nightmare is reflected in the critical praise it continues to receive almost 40 years after its original release, and it appears regularly on lists of the greatest horror films ever. For fans and critics alike, Suspiria is as mesmerising as it is impenetrable: the impact of Argento's notorious disinterest in matters of plot and characterisation combines with Suspiria's aggressive stylistic hyperactivity to render it a movie that needs to be experienced through the body as much as through emotion or the intellect. For its many fans, Suspiria is synonymous with European horror more broadly, and Argento himself is by far the most famous of all the Italian horror directors. If there was any doubt of his status as one of the great horror auteurs, Argento's international reputation was solidified well beyond the realms of cult fandom in the 1990s with retrospectives at both the American Museum of the Moving Image and the British Film Institute. This book considers the complex ways that Argento weaves together light, sound and cinema history to construct one of the most breathtaking horror movies of all time, a film as fascinating as it is ultimately unfathomable.
Bryan Turnock
- Published in print:
- 2019
- Published Online:
- February 2021
- ISBN:
- 9781911325895
- eISBN:
- 9781800342460
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325895.001.0001
- Subject:
- Film, Television and Radio, Film
Aimed at teachers and students new to the subject, this book is a comprehensive survey of the genre from silent cinema to its twenty-first century resurgence. Structured as a series of thirteen case ...
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Aimed at teachers and students new to the subject, this book 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 book concludes with a chapter on 2017's blockbuster It, the most financially successful horror film of all time, making this book the most up-to-date overview of the genre available.Less
Aimed at teachers and students new to the subject, this book 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 book concludes with a chapter on 2017's blockbuster It, the most financially successful horror film of all time, making this book the most up-to-date overview of the genre available.
Linnie Blake
- Published in print:
- 2008
- Published Online:
- July 2012
- ISBN:
- 9780719075933
- eISBN:
- 9781781700914
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719075933.001.0001
- Subject:
- Film, Television and Radio, Film
This book explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has ...
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This book explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves both as gendered individuals and as members of a particular nation-state. Exploring a wide range of stylistically distinctive and generically diverse film texts, its analysis ranges from the body horror of the American 1970s to the avant-garde proclivities of German Reunification horror, from the vengeful supernaturalism of recent Japanese chillers and their American remakes to the post-Thatcherite masculinity horror of the UK and the resurgence of hillbilly horror in the period following 9/11 USA. In each case, it is argued that horror cinema forces us to look again at the wounds inflicted on individuals, families, communities and nations by traumatic events such as genocide and war, terrorist outrage and seismic political change, wounds that are all too often concealed beneath ideologically expedient discourses of national cohesion. Thus proffering a radical critique of the nation-state and the ideologies of identity it promulgates, horror cinema is seen to offer us a disturbing, yet perversely life affirming, means of working through the traumatic legacy of recent times.Less
This book explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves both as gendered individuals and as members of a particular nation-state. Exploring a wide range of stylistically distinctive and generically diverse film texts, its analysis ranges from the body horror of the American 1970s to the avant-garde proclivities of German Reunification horror, from the vengeful supernaturalism of recent Japanese chillers and their American remakes to the post-Thatcherite masculinity horror of the UK and the resurgence of hillbilly horror in the period following 9/11 USA. In each case, it is argued that horror cinema forces us to look again at the wounds inflicted on individuals, families, communities and nations by traumatic events such as genocide and war, terrorist outrage and seismic political change, wounds that are all too often concealed beneath ideologically expedient discourses of national cohesion. Thus proffering a radical critique of the nation-state and the ideologies of identity it promulgates, horror cinema is seen to offer us a disturbing, yet perversely life affirming, means of working through the traumatic legacy of recent times.
Laura Mee
- Published in print:
- 2017
- Published Online:
- February 2021
- ISBN:
- 9781911325444
- eISBN:
- 9781800342316
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325444.001.0001
- Subject:
- Film, Television and Radio, Film
Taking a fresh look at The Shining (1980), this book situates the film within the history of the horror genre and examines its rightful status as one of the greatest horror movies ever made. It ...
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Taking a fresh look at The Shining (1980), this book situates the film within the history of the horror genre and examines its rightful status as one of the greatest horror movies ever made. It explores how Stanley Kubrick's filmmaking style, use of dark humour, and ambiguous approach to supernatural storytelling complements generic conventions, and it analyses the effective choices made in adapting King's book for the screen—stripping the novel's backstory, rejecting its clear explanations of the Overlook Hotel's hauntings, and emphasizing the strained relationships of the Torrance family. The fractured family unit and patriarchal terror of Kubrick's film, alongside its allusions to issues of gender, race, and class, connect it to themes prevalent in horror cinema by the end of the 1970s, and are shown to offer a critique of American society that chimed with the era's political climate as well as its genre trends. The film's impact on horror cinema and broader pop culture is ever apparent, with homages in everything from Toy Story to American Horror Story. The Shining showed that popular, commercial horror films could be smart, artistic, and original.Less
Taking a fresh look at The Shining (1980), this book situates the film within the history of the horror genre and examines its rightful status as one of the greatest horror movies ever made. It explores how Stanley Kubrick's filmmaking style, use of dark humour, and ambiguous approach to supernatural storytelling complements generic conventions, and it analyses the effective choices made in adapting King's book for the screen—stripping the novel's backstory, rejecting its clear explanations of the Overlook Hotel's hauntings, and emphasizing the strained relationships of the Torrance family. The fractured family unit and patriarchal terror of Kubrick's film, alongside its allusions to issues of gender, race, and class, connect it to themes prevalent in horror cinema by the end of the 1970s, and are shown to offer a critique of American society that chimed with the era's political climate as well as its genre trends. The film's impact on horror cinema and broader pop culture is ever apparent, with homages in everything from Toy Story to American Horror Story. The Shining showed that popular, commercial horror films could be smart, artistic, and original.
Lindsay Hallam
- Published in print:
- 2018
- Published Online:
- February 2021
- ISBN:
- 9781911325642
- eISBN:
- 9781800342385
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325642.001.0001
- Subject:
- Film, Television and Radio, Film
When David Lynch's film Twin Peaks: Fire Walk with Me, a prequel to the television series Twin Peaks, premiered at the 1992 Cannes Film Festival, it was met with met with outright hostility. ...
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When David Lynch's film Twin Peaks: Fire Walk with Me, a prequel to the television series Twin Peaks, premiered at the 1992 Cannes Film Festival, it was met with met with outright hostility. Subsequent reviews from critics were almost unanimously negative, and many fans of the show felt betrayed, as their beloved town was suddenly revealed as a personal hell. Yet in the years since the film's release, there has begun to be a gradual wave of reappraisal and appreciation, one that accelerated with the broadcast of Twin Peaks: The Return in 2017. What has been central to this reevaluation is the realization that what Lynch had created was not a parody of soap opera and detective television but a horror movie. This book argues that the horror genre aids Lynch's purpose in presenting the protagonist Laura Palmer's subjective experience leading to her death as the incorporation of horror tropes actually leads to a more accurate representation of a victim's suffering and confusion. The book goes on to explore how the film was an attempt by Lynch to take back ownership of the material and to examine the initial reaction and subsequent reevaluation of the film, as well as the paratexts that link to it and the influence that Fire Walk with Me now has on contemporary film and across popular culture.Less
When David Lynch's film Twin Peaks: Fire Walk with Me, a prequel to the television series Twin Peaks, premiered at the 1992 Cannes Film Festival, it was met with met with outright hostility. Subsequent reviews from critics were almost unanimously negative, and many fans of the show felt betrayed, as their beloved town was suddenly revealed as a personal hell. Yet in the years since the film's release, there has begun to be a gradual wave of reappraisal and appreciation, one that accelerated with the broadcast of Twin Peaks: The Return in 2017. What has been central to this reevaluation is the realization that what Lynch had created was not a parody of soap opera and detective television but a horror movie. This book argues that the horror genre aids Lynch's purpose in presenting the protagonist Laura Palmer's subjective experience leading to her death as the incorporation of horror tropes actually leads to a more accurate representation of a victim's suffering and confusion. The book goes on to explore how the film was an attempt by Lynch to take back ownership of the material and to examine the initial reaction and subsequent reevaluation of the film, as well as the paratexts that link to it and the influence that Fire Walk with Me now has on contemporary film and across popular culture.
Jason C. Bivins
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195340815
- eISBN:
- 9780199867158
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340815.003.0002
- Subject:
- Religion, Religion and Society
This chapter establishes four contextual factors shaping the Religion of Fear: the history of evangelicalism, political fear, American Christian demonology, and the evangelical mediascape. By ...
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This chapter establishes four contextual factors shaping the Religion of Fear: the history of evangelicalism, political fear, American Christian demonology, and the evangelical mediascape. By situating the Religion of Fear historically and comparing it with both political fear and earlier forms of demonology, this chapter reveals its specific contours. The chapter examines the fearful qualities of religion. It then describes the emergence of evangelicalism within a cluster of concerns to establish religious identity against fearful Others. This chapter next describes the way in which elements of horror and the Gothic resonate with religious strategies of alterity. The chapter concludes by describing the evangelical culture industry, which is part of the work on religious identities.Less
This chapter establishes four contextual factors shaping the Religion of Fear: the history of evangelicalism, political fear, American Christian demonology, and the evangelical mediascape. By situating the Religion of Fear historically and comparing it with both political fear and earlier forms of demonology, this chapter reveals its specific contours. The chapter examines the fearful qualities of religion. It then describes the emergence of evangelicalism within a cluster of concerns to establish religious identity against fearful Others. This chapter next describes the way in which elements of horror and the Gothic resonate with religious strategies of alterity. The chapter concludes by describing the evangelical culture industry, which is part of the work on religious identities.
Jason C. Bivins
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195340815
- eISBN:
- 9780199867158
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340815.003.0005
- Subject:
- Religion, Religion and Society
The subject of this chapter is the growing popularity of Christian alternatives to Halloween haunted houses. The most famous of these is Keenan Roberts's Hell House, a multiscene morality play that ...
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The subject of this chapter is the growing popularity of Christian alternatives to Halloween haunted houses. The most famous of these is Keenan Roberts's Hell House, a multiscene morality play that uses the techniques of horror entertainment to illustrate both a general and a specific narrative of social and political decline. These phenomena became very popular — attracting the attention of both supporters and critics — and explicitly engage the hot‐button political issues central to New Christian Right activism and organizing. Hell Houses' individual scenes illustrate to adolescents the harms (such as abortion, gay weddings, and school shootings) awaiting them in a society that — nominally committed to tolerance and social harmony — has unwittingly drawn them toward hellfire.Less
The subject of this chapter is the growing popularity of Christian alternatives to Halloween haunted houses. The most famous of these is Keenan Roberts's Hell House, a multiscene morality play that uses the techniques of horror entertainment to illustrate both a general and a specific narrative of social and political decline. These phenomena became very popular — attracting the attention of both supporters and critics — and explicitly engage the hot‐button political issues central to New Christian Right activism and organizing. Hell Houses' individual scenes illustrate to adolescents the harms (such as abortion, gay weddings, and school shootings) awaiting them in a society that — nominally committed to tolerance and social harmony — has unwittingly drawn them toward hellfire.
Rebekah Owens
- Published in print:
- 2017
- Published Online:
- February 2021
- ISBN:
- 9781911325130
- eISBN:
- 9781800342521
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325130.001.0001
- Subject:
- Film, Television and Radio, Film
Why write about Roman Polanski's Macbeth (1971) as part of a series of books dedicated to the classics of the horror movie genre? Because, this book argues, just as Banquo in Polanski's film holds up ...
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Why write about Roman Polanski's Macbeth (1971) as part of a series of books dedicated to the classics of the horror movie genre? Because, this book argues, just as Banquo in Polanski's film holds up a series of mirrors that reflect images of his successors that trace back to his own son Fleance, so subsequent milestones in the genre show their lineage to this work, their originator. Polanski had previously made Repulsion (1965) and Rosemary's Baby (1968), so he was fully aware of the conventions of the horror genre and this film provides clues to his own horror lexicon. This book demonstrates how Macbeth can be read as part of the British Folk tradition, strengthening the reading of the film as a horror movie in its own right through its links to The Wicker Man (1973), Blood on Satan's Claw (1971) and Witchfinder General (1968) then argues the case for its recognition as a horror movie even further, by connecting it to the later American horror classics, such as Halloween (1978). It also explores the popular associations made between the film and Polanski's own life, arguing that they endorse the view of the film as a horror. The book represents the first serious attempt to regard Polanski's Macbeth as a horror film in its own right, and not exclusively as one of a multitude of ongoing Shakespeare film adaptations.Less
Why write about Roman Polanski's Macbeth (1971) as part of a series of books dedicated to the classics of the horror movie genre? Because, this book argues, just as Banquo in Polanski's film holds up a series of mirrors that reflect images of his successors that trace back to his own son Fleance, so subsequent milestones in the genre show their lineage to this work, their originator. Polanski had previously made Repulsion (1965) and Rosemary's Baby (1968), so he was fully aware of the conventions of the horror genre and this film provides clues to his own horror lexicon. This book demonstrates how Macbeth can be read as part of the British Folk tradition, strengthening the reading of the film as a horror movie in its own right through its links to The Wicker Man (1973), Blood on Satan's Claw (1971) and Witchfinder General (1968) then argues the case for its recognition as a horror movie even further, by connecting it to the later American horror classics, such as Halloween (1978). It also explores the popular associations made between the film and Polanski's own life, arguing that they endorse the view of the film as a horror. The book represents the first serious attempt to regard Polanski's Macbeth as a horror film in its own right, and not exclusively as one of a multitude of ongoing Shakespeare film adaptations.
Barry Forshaw
- Published in print:
- 2013
- Published Online:
- February 2021
- ISBN:
- 9781906733650
- eISBN:
- 9781800342071
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781906733650.001.0001
- Subject:
- Film, Television and Radio, Film
The 1991 film The Silence of the Lambs, based on Thomas Harris's bestseller, was a game-changer in the fields of both horror and crime cinema. FBI trainee Clarice Starling was a new kind of heroine, ...
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The 1991 film The Silence of the Lambs, based on Thomas Harris's bestseller, was a game-changer in the fields of both horror and crime cinema. FBI trainee Clarice Starling was a new kind of heroine, vulnerable, intuitive, and in a deeply unhealthy relationship with her monstrous helper/opponent, the serial killer Hannibal Lecter. Jonathan Demme's film skillfully appropriated the tropes of police procedural, gothic melodrama and contemporary horror to produce something entirely new. The resulting film was both critically acclaimed and massively popular, and went on to have an enormous influence on 1990s genre cinema. This book closely examines the factors that contributed to the film's impact, including the revelatory performances of Jodie Foster and Anthony Hopkins in the lead roles.Less
The 1991 film The Silence of the Lambs, based on Thomas Harris's bestseller, was a game-changer in the fields of both horror and crime cinema. FBI trainee Clarice Starling was a new kind of heroine, vulnerable, intuitive, and in a deeply unhealthy relationship with her monstrous helper/opponent, the serial killer Hannibal Lecter. Jonathan Demme's film skillfully appropriated the tropes of police procedural, gothic melodrama and contemporary horror to produce something entirely new. The resulting film was both critically acclaimed and massively popular, and went on to have an enormous influence on 1990s genre cinema. This book closely examines the factors that contributed to the film's impact, including the revelatory performances of Jodie Foster and Anthony Hopkins in the lead roles.
Samm Deighan
- Published in print:
- 2019
- Published Online:
- February 2021
- ISBN:
- 9781911325772
- eISBN:
- 9781800342422
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325772.001.0001
- Subject:
- Film, Television and Radio, Film
Fritz Lang's first sound feature, M (1931), is one of the earliest serial killer films in cinema history and laid the foundation for future horror movies and thrillers, particularly those with a ...
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Fritz Lang's first sound feature, M (1931), is one of the earliest serial killer films in cinema history and laid the foundation for future horror movies and thrillers, particularly those with a disturbed killer as protagonist. Peter Lorre's child killer, Hans Beckert, is presented as monstrous, yet sympathetic, building on themes presented in the earlier German Expressionist horror films like The Cabinet of Dr. Caligari and The Hands of Orlac. Lang eerily foreshadowed the rising fascist horrors in German society, and transforms his cinematic Berlin into a place of urban terror and paranoia. This book explores the way Lang uses horror and thriller tropes in M, particularly in terms of how it functions as a bridge between German Expressionism and Hollywood's growing fixation on sympathetic killers in the 1940s. The book also examines how Lang made use of developments within forensic science and the criminal justice system to portray a somewhat realistic serial killer on screen for the first time, at once capturing how society in the 1930s and 1940s viewed such individuals and their crimes and shaping how they would be portrayed on screen in the horror films to come.Less
Fritz Lang's first sound feature, M (1931), is one of the earliest serial killer films in cinema history and laid the foundation for future horror movies and thrillers, particularly those with a disturbed killer as protagonist. Peter Lorre's child killer, Hans Beckert, is presented as monstrous, yet sympathetic, building on themes presented in the earlier German Expressionist horror films like The Cabinet of Dr. Caligari and The Hands of Orlac. Lang eerily foreshadowed the rising fascist horrors in German society, and transforms his cinematic Berlin into a place of urban terror and paranoia. This book explores the way Lang uses horror and thriller tropes in M, particularly in terms of how it functions as a bridge between German Expressionism and Hollywood's growing fixation on sympathetic killers in the 1940s. The book also examines how Lang made use of developments within forensic science and the criminal justice system to portray a somewhat realistic serial killer on screen for the first time, at once capturing how society in the 1930s and 1940s viewed such individuals and their crimes and shaping how they would be portrayed on screen in the horror films to come.
Jez Conolly
- Published in print:
- 2014
- Published Online:
- February 2021
- ISBN:
- 9781906733773
- eISBN:
- 9781800342132
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781906733773.001.0001
- Subject:
- Film, Television and Radio, Film
Consigned to the deep freeze of critical and commercial reception upon its release in 1982, The Thing has bounced back spectacularly to become one of the most highly regarded productions from the ...
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Consigned to the deep freeze of critical and commercial reception upon its release in 1982, The Thing has bounced back spectacularly to become one of the most highly regarded productions from the 1980s 'Body Horror' cycle of films, experiencing a wholesale and detailed reappraisal that has secured its place in the pantheon of modern cinematic horror. Thirty years on, and with a recent prequel reigniting interest, this book looks back to the film's antecedents and to the changing nature of its reception and the work that it has influenced. The themes discussed include the significance of The Thing's subversive antipodal environment, the role that the film has played in the corruption of the onscreen monstrous form, the qualities that make it an exemplar of the director's work and the relevance of its legendary visual effects despite the advent of CGI. Topped and tailed by a full plot breakdown and an appreciation of its notoriously downbeat ending, this exploration of the events at US Outpost 31 in the winter of 1982 captures The Thing's sub-zero terror in all its gory glory.Less
Consigned to the deep freeze of critical and commercial reception upon its release in 1982, The Thing has bounced back spectacularly to become one of the most highly regarded productions from the 1980s 'Body Horror' cycle of films, experiencing a wholesale and detailed reappraisal that has secured its place in the pantheon of modern cinematic horror. Thirty years on, and with a recent prequel reigniting interest, this book looks back to the film's antecedents and to the changing nature of its reception and the work that it has influenced. The themes discussed include the significance of The Thing's subversive antipodal environment, the role that the film has played in the corruption of the onscreen monstrous form, the qualities that make it an exemplar of the director's work and the relevance of its legendary visual effects despite the advent of CGI. Topped and tailed by a full plot breakdown and an appreciation of its notoriously downbeat ending, this exploration of the events at US Outpost 31 in the winter of 1982 captures The Thing's sub-zero terror in all its gory glory.
Neil Mitchell
- Published in print:
- 2014
- Published Online:
- February 2021
- ISBN:
- 9781906733728
- eISBN:
- 9781800342118
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781906733728.001.0001
- Subject:
- Film, Television and Radio, Film
Brian De Palma's adaptation of Stephen King's debut novel, Carrie (1976), is one of the defining films of 1970s ‘New Hollywood’ style and a horror classic. The story of a teenage social outcast who ...
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Brian De Palma's adaptation of Stephen King's debut novel, Carrie (1976), is one of the defining films of 1970s ‘New Hollywood’ style and a horror classic. The story of a teenage social outcast who discovers she possesses latent psychic powers that allow her to deliver retribution to her peers, teachers, and abusive mother, Carrie was an enormous commercial and critical success and is still one of the finest screen adaptations of a King novel. This book not only breaks the film down into its formal components — its themes, stylistic tropes, technical approaches, uses of colour and sound, dialogue, and visual symbolism — but also considers a multitude of other factors contributing to the work's classic status. The act of adapting King's novel for the big screen, the origins of the novel itself, the place of Carrie in De Palma's oeuvre, the subsequent versions and sequel, and the social, political, and cultural climate of the era (including the influence of second wave feminism, loosening sexual norms, and changing representations of adolescence), as well as the explosion of interest in and the evolution of the horror genre during the decade, are all shown to have played an important part in the film's success and enduring reputation.Less
Brian De Palma's adaptation of Stephen King's debut novel, Carrie (1976), is one of the defining films of 1970s ‘New Hollywood’ style and a horror classic. The story of a teenage social outcast who discovers she possesses latent psychic powers that allow her to deliver retribution to her peers, teachers, and abusive mother, Carrie was an enormous commercial and critical success and is still one of the finest screen adaptations of a King novel. This book not only breaks the film down into its formal components — its themes, stylistic tropes, technical approaches, uses of colour and sound, dialogue, and visual symbolism — but also considers a multitude of other factors contributing to the work's classic status. The act of adapting King's novel for the big screen, the origins of the novel itself, the place of Carrie in De Palma's oeuvre, the subsequent versions and sequel, and the social, political, and cultural climate of the era (including the influence of second wave feminism, loosening sexual norms, and changing representations of adolescence), as well as the explosion of interest in and the evolution of the horror genre during the decade, are all shown to have played an important part in the film's success and enduring reputation.
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.
Ian Cooper
- Published in print:
- 2016
- Published Online:
- February 2021
- ISBN:
- 9780993071737
- eISBN:
- 9781800341937
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9780993071737.001.0001
- Subject:
- Film, Television and Radio, Film
The horror film reveals as much, if not more, about the British psyche as the more respectable heritage film or the critically revered social realist drama. Yet, like a mad relative locked in the ...
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The horror film reveals as much, if not more, about the British psyche as the more respectable heritage film or the critically revered social realist drama. Yet, like a mad relative locked in the attic, British horror cinema has for too long been ignored and maligned. Even when it has been celebrated, neglect is not far behind and what studies there have been concentrate largely on the output of Hammer, the best-known producers of British horror. But this is only part of the story. It's a tradition that encompasses the last days of British music hall theater, celebrated auteurs such as Alfred Hitchcock and Roman Polanski and opportunistic, unashamed hacks. This book is an in-depth analysis of the home-grown horror film, each chapter anchored by close studies of key titles, consisting of textual analysis, production history, marketing and reception. Although broadly chronological, attention is also paid to the thematic links, emphasizing both the wide range of the genre and highlighting some of its less-explored avenues. Chapters focus on the origins of British horror and its foreign influences, Hammer (of course), the influence of American International Pictures and other American and European filmmakers in 1960s Britain, the 'savage Seventies' and the new wave of twenty-first-century British horror. The result is an authoritative, comprehensive and, most importantly, entertaining survey of this most exuberant field of British cinema.Less
The horror film reveals as much, if not more, about the British psyche as the more respectable heritage film or the critically revered social realist drama. Yet, like a mad relative locked in the attic, British horror cinema has for too long been ignored and maligned. Even when it has been celebrated, neglect is not far behind and what studies there have been concentrate largely on the output of Hammer, the best-known producers of British horror. But this is only part of the story. It's a tradition that encompasses the last days of British music hall theater, celebrated auteurs such as Alfred Hitchcock and Roman Polanski and opportunistic, unashamed hacks. This book is an in-depth analysis of the home-grown horror film, each chapter anchored by close studies of key titles, consisting of textual analysis, production history, marketing and reception. Although broadly chronological, attention is also paid to the thematic links, emphasizing both the wide range of the genre and highlighting some of its less-explored avenues. Chapters focus on the origins of British horror and its foreign influences, Hammer (of course), the influence of American International Pictures and other American and European filmmakers in 1960s Britain, the 'savage Seventies' and the new wave of twenty-first-century British horror. The result is an authoritative, comprehensive and, most importantly, entertaining survey of this most exuberant field of British cinema.
