The Horror Film (eBook)
627 Seiten
Wiley-Blackwell (Verlag)
978-1-119-71534-4 (ISBN)
A lively and reliable narrative account of the horror genre, featuring new and revised material throughout
The Horror Film: An Introduction surveys the history, development, and social impact of the genre. Covering American horror cinema from its earliest period to the present, this reader-friendly volume explores the many ways horror movies have been received by filmmakers, critics, and general audiences throughout the decades. Concise, easily accessible chapters describe historical instances of the genre's social reception based on primary research, analyze landmark films such as Frankenstein, Invasion of the Body Snatchers, and The Texas Chain Saw Massacre, and more.
Incorporating recent scholarship on the genre, the second edition of The Horror Film contains new discussion and context for Hollywood horror films in the 1980s and 1990s, as well as notable developments in the genre such as 'torture porn,' found-footage horror, remakes and reboots of past horror films, zombies, and the 'elevated horror' debate. This edition explores the rise of new filmmakers such as Ari Aster, Robert Eggers, and Jordan Peele, surveys horror films made by women and African American filmmakers, and investigates contemporary issues in the production and consumption of horror films.
Combining historical narrative with close readings of significant works, The Horror Film:
- Covers major works in the genre such as Cat People, Halloween, and Bram Stoker's Dracula
- Examines important antecedents including gothic literature and the Grand Guignol Theater
- Offers thorough analyses of the style, context, and themes of specific horror milestones
- Provides examples of close analysis that can be applied to a wide range of other horror films
- Discusses important representative titles across the genre's evolution, including more recent films such as 2017's Get Out
The Horror Film: An Introduction, Second Edition, is an ideal textbook for undergraduate surveys of the horror genre and other courses in American film history, and an invaluable resource for scholars, lecturers, and general readers with an interest in the subject.
RICK WORLAND is a Professor of Film and Media Arts at Southern Methodist University, where he teaches courses in film history, documentary, broadcasting history, the films of Alfred Hitchcock, and popular genres including the Western and the horror film. His work has been published in Cinema Journal, The Journal of Film & Video, and The Journal of Popular Film & Television, among others. He is the author of Searching for New Frontiers: Hollywood Films in the 1960s and is currently working on a book on 1970s Hollywood.
List of Illustrations
Chapter 2. A Short History of the Horror Film, Beginnings to 1945
| Figure 2.1 | Expressionist Distortion: Mad Dr. Caligari (Werner Krauss) in his office at the mental institution in The Cabinet of Dr. Caligari (1920). Source: Directed by Robert Wiene. Produced by Decla. Fair Use. |
| Figure 2.2 | Theatrical Flair: Lon Chaney in The Phantom of the Opera (1925). Source: Directed by Rupert Julian. Produced by Universal Pictures. Fair Use. |
| Figure 2.3 | Doppelgänger: Frederic March in the classic film version of Dr. Jekyll and Mr. Hyde (1931). Source: Directed by Rouben Mamoulian. Produced by Paramount Pictures. Fair Use. |
| Figure 2.4 | Horror Stars of the genre’s classic period: The Frankenstein Monster (Boris Karloff) gently tends his late friend Ygor (Bela Lugosi) in Son of Frankenstein (1939). Source: Directed by Roland V. Lee. Produced by Universal Pictures. Fair Use. |
| Figure 2.5 | Sequels and Series in the World War II Era: Lon Chaney, Jr. as the Wolf Man in Frankenstein Meets the Wolf Man (1943). Source: Directed by Roy William Neill. Produced by Universal Pictures. Fair Use. |
| Figure 2.6 | Mood over Monsters: The desperate Jacqueline ( Jean Brooks) stalked by cultists in Val Lewton’s production of The Seventh Victim (1943). Source: Directed by Jacques Tourneur. Produced by RKO‐Radio Pictures. Fair Use. |
Chapter 3. A Short History of the Horror Film, 1945 to Present
| Figure 3.1 | Atomic Terrors: The most famous of many radioactive monsters in the post‐World War II years, Japan’s Godzilla (1954). Source: Directed by Ishiro Honda. Produced by Toho Film Co. Fair use. |
| Figure 3.2 | Hammer updates the classic genre movies: Christopher Lee as Count Dracula in Horror of Dracula (1958), part of a new series featuring more graphic violence and sexuality. Source: Directed by Terence Fisher. Produced by Hammer Film Productions. Fair Use. |
| Figure 3.3 | Poe goes to the drive‐in: Sebastian Medina (Vincent Price) seized by the delusion of becoming his father, an infamous Inquisitor, in The Pit and the Pendulum (1961). Source: Directed by Roger Corman. Produced by American International Pictures. Fair Use. |
| Figure 3.4 | Essence of Exploitation: American International Pictures (AIP) ad slick for The Thing With Two Heads (1972), combining the studio’s horror tradition and outlaw biker movies of the 1960s with the 1970s “Blaxploitation” cycle. Source: American International Pictures Pressbook, The Thing With Two Heads. (Author’s collection.) Fair Use. |
| Figure 3.5 | Splatter: One of makeup artist Tom Savini’s gory zombie creations in Dawn of the Dead (1978). Source: Directed by George A. Romero. Produced by Laurel Group/Dawn Associates. Fair Use. |
| Figure 3.6 | Post‐modern Quotation: The Funhouse (1981) opens with self‐conscious reference to Psycho by way of Halloween. A parodic “rehearsal” before the “real” violence later in the movie. Source: Directed by Tobe Hooper. Produced by Universal Pictures/Mace Neufeld Productions. Fair Use. |
| Figure 3.7 | The slasher cycle and a new monster pantheon in the 1980s: The indestructible Jason Voorhees does it again, and again, and again in Friday the 13th Part VII: The New Blood (1988). Source: Friday the 13th Part VII: The New Blood. Directed by John Carl Buechler. Produced by Paramount Pictures/Friday Four Films/Sean S. Cunningham Films. Fair Use. |
| Figure 3.8 | Torture Porn: Terrified Paxton (Jay Hernandez), menaced by a chain saw‐wielding sadist in one of the most harrowing scenes of Hostel (2005). Source: Directed by Eli Roth. Produced by Next Entertainment/Lions Gate Films. Fair Use. |
| Figure 3.9 | Real Scary: The actors cast in The Blair Witch Project (1999) and Paranormal Activity (2009) used their real names as their characters’ names, blurring distinctions between fiction and reality. Source: Directed by Daniel Myrick and Eduardo Sanchez. Produced by Haxan Films/Artisan Entertainment. Fair Use. |
| Figure 3.10 | Artist Annie Graham (Toni Collette) shaken by a miniature likeness of her late, still imposing mother in Hereditary (2018). Source: Directed by Ari Aster. Produced by Palm Star Media/A24. Fair Use. |
| Figure 3.11 | High School horrors. Supremely confident Jennifer (Megan Fox) and her anxious friend, “Needy” (Amanda Seyfried) in Jennifer’s Body (2009). Source: Directed by Karyn Kusama. Produced by Dune Entertainment/Twentieth Century Fox. Fair Use. |
| Figure 3.12 | Adelaide Wilson (Lupita Nyong’o) is a mother determined to protect her family against uncanny threats in Us (2019), a tale permitting the principal cast to play dual roles. Source: Directed by Jordan Peele. Produced by Monkeypaw Productions/Blumhouse Productions. Fair Use. |
Chapter 4. Monsters Among Us: Cases of Social Reception
| Figure 4.1 | “Rosie the Riveter” for the genre in wartime: Vampire‐hunter Lady Jane Ainsley (Frieda Inescort) coolly lays a trap for Armand Tesla (Bela Lugosi) in The Return of the Vampire (1943). Source: Directed by Lew Landers. Produced by Columbia Pictures. Fair Use. |
| Figure 4.2 | The people next door: CBS’s The Munsters and ABC’s The Addams Family, both broadcast 1964–6, portrayed the American family as happy denizens of a gothic world. The Addams Family (pictured) was adapted from the cleverly weird magazine cartoons of Charles Addams. Source: Created by David Levy. Produced by Filmways Television. Fair Use. |
Chapter 5. Edges of the Horror Film: Lon Chaney, Tod Browning, and The Unknown (1927)
| Figure 5.1 | Alonzo the Armless (Lon Chaney) and his diminutive alter ego Cojo (John George) in The Unknown (1927). Source: The Unknown. Directed by Tod Browning. Produced by Metro‐Goldwyn‐Mayer. Fair Use. |
Chapter 6. Frankenstein (1931) and Hollywood Expressionism
| Figure 6.1 | Jack P. Pierce’s makeup for Boris Karloff as the Monster in Frankenstein (1931) became one of the iconic images of twentieth‐century culture. Source: Directed by James Whale. Produced by Universal Pictures. Fair Use. |
Chapter 7. Cat People (1942): Lewton, Freud, and Suggestive Horror
| Figure 7.1 | Simone Simon as the troubled Irena Dubrovna, before a Goya portrait including sinister felines in Val Lewton’s production of Cat People (1942). Source: Directed by Jacques Tourneur. Produced by RKO‐Radio Pictures. Fair Use. |
Chapter 8. Horror in “The Age of Anxiety:” Invasion of the Body Snatchers (1956)
| Figure 8.1 | Dr. Miles Bennell (Kevin McCarthy) examines the strange “blank” found in the Belicec home in Invasion of the Body Snatchers (1956). The movie combines a science fiction plot with the chiaroscuro visuals of gothic horror. Source: Directed by Don Siegel. Produced by Allied Artists. Fair Use. |
Chapter 9. Slaughtering Genre Tradition: The Texas Chain Saw Massacre (1974)
| Figure 9.1 | Family dinner: Captive Sally’s nightmarish view of the cannibal clan in The Texas Chain Saw Massacre (1974). Fiendish production design by Robert A. Burns. Source: Directed by Tobe Hooper. Produced by Vortex/Bryanston Distributing. Fair Use. |
Chapter 10. Halloween (1978): The Shape of the Slasher Film
| Figure 10.1 | Final Girl: Fearful but resilient Laurie Strode (Jamie Lee Curtis) ventures across the street to confront the evil that awaits in Halloween (1978). Source: Directed by John Carpenter. Produced by Compass International Pictures/Falcon International Productions. Fair Use. |
Chapter 11. Re‐Animator (1985) and Slapstick Horror
| Figure 11.1 | Going head to head: Obsessive scientist Herbert West (Jeffrey Combs) revives the severed head and body of his nemesis Dr. Hill (David Gale) to initiate the absurd and gory climax of Re‐Animator (1985). Source: Directed by Stuart Gordon. Produced by Empire Pictures. Fair Use. |
Chapter...
| Erscheint lt. Verlag | 8.8.2024 |
|---|---|
| Reihe/Serie | New Approaches to Film Genre |
| Sprache | englisch |
| Themenwelt | Kunst / Musik / Theater ► Film / TV |
| Schlagworte | American horror cinema • American horror films textbook • horror film analysis • horror film genre • horror film history • horror film introduction • horror filmmakers • horror film reception • horror film survey • horror film textbook • horror film themes |
| ISBN-10 | 1-119-71534-2 / 1119715342 |
| ISBN-13 | 978-1-119-71534-4 / 9781119715344 |
| Haben Sie eine Frage zum Produkt? |
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