French ‘classics’ of the 1950s; while also developing a love
of American science-fiction blockbusters (Spielberg, Lucas) and horrorcinema (Craven, Argento and Romero) from the late 1970s and early 1980s
(Kassovitz 1998 ).
The young Kassovitz was, however, less enthusiastic about French
cinema of the same period, as comments made during an interview in the
late 1990s prove
boundaries between art and real, image and audience.
The effects, of suspense, terror, anxiety and shock, the
subsequent reactions like revulsion or the aversion of eyes, resemble
those of horrorcinema as it cuts up bodies and simultaneously assaults
the eyes of audiences. The link is explored by Michelle Hirschhorn,
comparing the effects of Orlan’s art to the horror and abjection
production of the paternal figure.
There may be a limit to the momentum of disappearance and
return in which the figure of the father is lost and recovered, to the
point that loss alone takes over: losses of power, of credibility, of
control become increasingly evident in cinematic representations. In the
late 1970s, with the revival of popular horrorcinema, ‘the genre
begins to overtly interrogate paternal
Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema. Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.