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A techno-bestiary of drones in art and war
Claudette Lauzon

horror cinema of the mid-twentieth century, the word ‘blob’ will conjure the eponymously titled 1958 teen film in which a human-devouring amoeba-like alien organism, which has fallen to earth in a meteorite, terrorises a small town and threatens to eventually engulf the entire planet but for the valiant efforts of two quick-thinking teenagers. 29 Eventually flash frozen and transported to the north pole, the blob is left there to hibernate for ‘as long as the arctic stays cold’ – a chillingly prescient cliff-hanger if ever there was one. But putting aside the

in Drone imaginaries
Into the frame of Clive Barker’s The Midnight Meat Train and Dread comic and film adaptations
Bernard Perron

because, ‘[Horror] Cinema so desperately needs stories.’ 10 In a time where the horror film genre lacks inventiveness to the point of remaking not-so-old classics (like the slashers of the 1980s), Clive Barker's short stories become remarkable options because of their narrative arc, their imagery, and their use of confined and moving spaces ( The Midnight Meat Train

in Clive Barker
National identity and the spirit of subaltern vengeance in Nakata Hideo’s Ringu and Gore Verbinski’s The Ring
Linnie Blake

of horror cinema, specifically those Japanese horror films most recently subject to adaptation in the United States. Over the past fifteen years, as the United States has sought to increase its international influence over the strategically significant nations of Afghanistan, Iraq, Iran and North Korea, it is notable that there has been an exponential increase in the availability, and hence consumption, of Japanese films

in Monstrous adaptations
Barry Jordan

horror cinema with a more serious feel). Amenábar admires a film like Medak’s which relies on atmosphere not blood, conveys a strong sense of traditional suspense and horror, especially through its performances, the interactions of the gazes, the reactions to offscreen sounds and a sophisticated use of music and soundscapes. And even though the film exploits a supernatural element, ‘lo hace de forma muy seria’ (Heredero 1997

in Alejandro Amenábar
Johan Höglund

, horror, science-fiction and war, melodrama and comedy, and move in and out of the Gothic mode. The concept of Nordic in Nordic Gothic new media is arguably more problematic than in more conventional media. What this book refers to as the Nordic Gothic novel is typically written in one of the Nordic languages and routinely placed within the geographical remit of the North. Similarly, while some Nordic directors of Gothic and horror cinema operate outside the Nordic region and make films in English, most Nordic Gothic films are linked to the Nordic

in Nordic Gothic
Britain’s ‘bad blonde’
Andrew Roberts

Fifties , London : Secker & Warburg . Hutchings , Peter ( 2001 a), ‘ The Amicus House of Horror ’, in Chibnall , Steve and Petley , Julian (eds.) British Horror Cinema , London : Routledge . Hutchings , Peter ( 2001 b), Terence Fisher: British Film Makers , Manchester : Manchester University Press . Jones , Matthew ( 2017 ), Science Fiction Cinema and 1950s Britain: Recontextualizing Cultural Anxiety , London : Bloomsbury . King , Barry ( 1991 ), ‘Articulating Stardom’ , in Butler Jeremy G. (ed

in Idols of the Odeons
Les Revenants as metaphysical drama
Alberto N. García

, Pierre ( 2012 ) ‘ Les Revenants – peur sur la vie ’. Le Monde , 19 November. (accessed 16 December 2019). Spadoni , Robert ( 2014 ) ‘ Horror film atmosphere as anti-narrative (and vice versa) ’. In Richard Nowell (ed.) Merchants of menace: the business of horror cinema. London : Bloomsbury , pp. 109

in Substance / style
Peter Hutchings

horror cinema. There is no reason to suppose that what was new and unsettling for the critics was not also going to be new and unsettling for the film-makers as well. So far as Fisher’s career was concerned, The Curse of Frankenstein saw him breaking new ground in several ways. It was his first colour film, his first horror film, and also his first period costume drama since Colonel Bogey , his 1947 directorial debut. Much

in Terence Fisher
Barry Jordan

European sources, by 1994–95 Amenábar had seen very little European cinema, let alone European horror cinema (such as the Italian ‘giallo’) and, perhaps surprisingly, was even unacquainted with local Spanish ‘auteurs maudits’ such as Villaronga and Zulueta (Rodríguez Marchante 2002 : 97). It was only after Tesis and Abre los ojos , for example, that Amenábar began to acknowledge the works of European

in Alejandro Amenábar
Valentina Vitali

radio, rock ’n’ roll and youth culture, as well as with increased nudity and salaciousness. The magazine’s circulation peaked in 1955, at 1.15 million (Cameron, Fishlock and Cottrell 1984). Another example is Hammer’s horror cinema, in which the semi-respectable tradition of the gothic novel was used to rehearse the discrepancies between a then new technology-based rationalism and the more ethereal values of individuation, the legitimacy of the pursuit of one’s desires in the face of authority and of putting one’s desires above the requirements of social reproduction

in Capital and popular cinema