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Grief in Contemporary Horror Cinema by Erica Joan Dymond Pdf
Over the course of the past two decades, horror cinema around the globe has become increasingly preoccupied with the concept of loss. Grief in Contemporary Horror Cinema: Screening Loss examines the theme of grief as it is represented in both indie and mainstream films, including works such as Jennifer Kent's watershed film The Babadook, Juan Antonio Bayona's award-sweeping El orfanato, Ari Aster's genre-straddling Midsommar, and Lars von Trier's visually stunning Melancholia. Analyzing depictions of grief ranging from the intimate grief of a small family to the collective grief of an entire nation, the essays illustrate how these works serve to provide unity, catharsis, and—sometimes—healing.
Grief in Contemporary Horror Cinema by Erica Joan Dymond Pdf
Grief in Contemporary Horror Cinema: Screening Loss examines bereavement as it appears in horror films of the last two decades. This book addresses global hits such as Guillermo del Toro's Pan's Labyrinth and Jennifer Kent's The Babadook as well as lauded arthouse films such a...
The first in-depth study of its subject, this book seeks to account for a type of modernist film that revolves around bereavement. Identifying the roots of the genre in classical melodrama and horror cinema, and tracing perennial themes and aesthetic devices through to the European and American "intellectual melodramas" of the postwar decades, the book provides a taxonomy of characteristics. In the course of detailed case studies, the book deploys the film theory of Gilles Deleuze and Daniel Frampton while making use of Freudian psychoanalysis and present-day grief counseling theory. In making its case for the new genre, the book reflects upon the ways in which the very notion of genre has, in the post-classical period, responded to changing exhibition patterns, the rise of domestic spectatorship and the proliferation of Web-based film literature.
Contemporary Gothic and Horror Film by Keith McDonald,Wayne Johnson Pdf
This book looks at contemporary Gothic cinema within a transnational approach. With a focus on the aesthetic and philosophical roots which lie at the heart of the Gothic, the study invokes its literary as well as filmic forebears, by exploring how these styles informed strands of the modern filmic Gothic: the ghost narrative, folk horror, the vampire movie, cosmic horror and finally, the zombie film. In recent years, the concept of transnationalism has ‘trans’-cended its original boundaries, perhaps excessively in the minds of some. Originally defined in the wake of the rise of globalisation in the 1990s, as a way to study cinema beyond national boundaries, where the look and the story of a film reflected the input of more than one nation, or region, or culture. It was considered too confining to study national cinemas in an age of internationalization, witnessing the fusions of cultures, and post-colonialism, exile and diasporas. The concept allows us to appreciate the broader range of forces from a wider international perspective while at the same time also engaging with concepts of nationalism, identity and an acknowledgement of cinema itself. It also facilitated studies to focus on notions of hybridity where terms were not fixed but were constantly shifting and mobile. The central idea of the book is that after horror/Gothic film was dragged into disrepute by the rise of torture porn and endless North American remakes, a set of international filmmakers are seeking to emphasize the aesthetic, artistic and philosophical potential of the Gothic. Such filmmakers include Guillermo del Toro (Crimson Peak), Ana Lily Amirpour (A Girl Walks Home Alone at Night), Park Chan-wook (The Handmaiden, Stoker), Tomas Alfredson (Let the Right One In), Wim Wenders (Only Lovers Left Alive), Ben Wheatley (A Field in England), Jane Campion (Top of the Lake), and Carol Morley (The Falling). Although written in an accessible manner, the book incorporates theory and engages extensively into research to tap into key developments in Gothic studies – transnationalism, fandom and genre fiction, and transmedia exchanges – bringing these together along with popular culture and associated phenomena.
Contemporary Gothic and Horror Film by Keith McDonald,Wayne Johnson Pdf
This book looks at contemporary Gothic cinema within a transnational approach. With a focus on the aesthetic and philosophical roots which lie at the heart of the Gothic, the study invokes its literary as well as filmic forebears by exploring how these styles informed strands of the modern filmic Gothic: the ghost narrative, folk horror, the vampire movie, cosmic horror and, finally, the zombie film. In recent years, the concept of transnationalism has ‘trans’-cended its original boundaries, perhaps excessively in the minds of some. Originally defined in the wake of the rise of globalisation in the 1990s, as a way to study cinema beyond national boundaries, where the look and the story of a film reflected the input of more than one nation, or region, or culture. It was considered too confining to study national cinemas in an age of internationalization, witnessing the fusions of cultures, and post-colonialism, exile and diasporas. The concept allows us to appreciate the broader range of forces from a wider international perspective while at the same time also engaging with concepts of nationalism, identity and an acknowledgement of cinema itself.
Contemporary Horror on Screen by Sarah Baker,Amanda Rutherford,Richard Pamatatau Pdf
This book highlights how horror in film and television creates platforms to address distinct areas of modern-day concern. In examining the prevalence of dark tropes in contemporary horror films such as Get Out, Annabelle: Creation, A Quiet Place, Hereditary and The Nun, as well as series such as Stranger Things, American Horror Story and Game of Thrones, amongst numerous others, the authors contend that we are witnessing the emergence of a ‘horror renaissance’. They posit that horror films or programmes, once widely considered to be a low form of popular culture entertainment, can contain deeper meanings or subtext and are increasingly covering serious subject matter. This book thus explores how horror is utilised as a tool to explore social and political anxieties of the cultural moment and is thus presented as a site for contestation, exploration and expansion to discuss present-day fears. It demonstrates how contemporary horror reflects the horror of modern-day life, be it political, biological, social or environmental. A vital contribution to studies of the horror genre in contemporary culture, and the effect it has on social anxieties in a threatening and seemingly apocalyptic time for the world, this is a vital text for students and researchers in popular culture, film, television and media studies.
Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed 'elevated horror' and 'post-horror,' films such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema.
Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed 'elevated horror' and 'post-horror,' films such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema.
The Canadian Horror Film by Gina Freitag,André Loiselle Pdf
From the cheaply made “tax-shelter” films of the 1970s to the latest wave of contemporary “eco-horror,” Canadian horror cinema has rarely received much critical attention. Gina Freitag and André Loiselle rectify that situation in The Canadian Horror Film with a series of thought-provoking reflections on Canada’s “terror of the soul,” a wasteland of docile damnation and prosaic pestilence where savage beasts and mad scientists rub elbows with pasty suburbanites, grumpy seamen, and baby-faced porn stars. Featuring chapters on Pontypool, Ginger Snaps, 1970s slasher films, Quebec horror, and the work of David Cronenberg, among many others, The Canadian Horror Film unearths the terrors hidden in the recesses of the Canadian psyche. It examines the highlights of more than a century of Canadian horror filmmaking and includes an extensive filmography to guide both scholars and enthusiasts alike through this treacherous terrain.
Disney Gothic by Lorna Piatti-Farnell,Jeffrey Andrew Weinstock Pdf
In this edited collection exploring Disney’s dark side, attention to Disney’s Gothic reveals the ways through which Disney productions construct and reinforce conceptions of normalcy and deviance in relation to shifting understandings of morality, social roles, and identity categories.
Author : Isabel Cristina Pinedo Publisher : State University of New York Press Page : 198 pages File Size : 50,8 Mb Release : 2016-02-24 Category : Social Science ISBN : 9781438416168
In Recreational Terror, Isabel Cristina Pinedo analyzes how the contemporary horror film produces recreational terror as a pleasurable encounter with violence and danger for female spectators. She challenges the conventional wisdom that violent horror films can only degrade women and incite violence, and contends instead that the contemporary horror film speaks to the cultural need to express rage and terror in the midst of social upheaval.
Most scholarship on Mary Lambert's Pet Sematary (1989) overarchingly focuses on the Stephen King novel (1983), and tends strongly towards housing the story within the Gothic literary tradition. The film itself is often absent from considerations of North American horror cinema of the 1980s, and from wider horror scholarship in general. This Devil's Advocate stands as a corrective, and provides a holistic analysis – textual, contextual, and industrial – of the film, in order to properly situate it as an important entry into the history of horror cinema. This book joins a growing body of works – both journalistic and academic – that aim to revisit older films in order to call attention to and/or redress the gendered imbalance in our written horror histories. McMurdo charges Pet Sematary with several contributions to the horror genre: as an important entry within the tradition of “grief horror”; as a horror film that both adheres to and defies the generic conventions of its historical context, one both engaged with and respondent to its time of creation; as a film that changed the fortunes of the cinematic Stephen King “brand” on the cusp of a new decade. Pet Sematary is the highest grossing horror film directed by a woman in cinematic history, and it stands as a story that we keep returning to – as seen by the 1992 sequel, the 2019 remake, and a forthcoming prequel. Pet Sematary’s modern relevance and importance to genre history then, is manifold, and this book argues it is past time for its reconsideration as a classic of horror cinema.
New Blood in Contemporary Cinema by Patricia Pisters Pdf
The book investigates contemporary women directors who put 'a poetics of horror' to new use in their work, expanding the range of gendered and racialized perspectives in the horror genre.
Dissecting Cannibal Holocaust by Nathan Wardinski Pdf
Dissecting Cannibal Holocaust examines the layers of Ruggero Deodato’s controversial horror film including its relevance to cinematic and literary history, anthropology, nature studies, ethics and censorship, media and journalism, documentary filmmaking, representations of post-colonialism, and genre cinema.