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Barry Jordan

emphatic hype, based on only two films, could have been a heavy burden to bear for such an inexperienced young filmmaker. Yet, rather than play safe by making another relatively small-scale, easily manageable, European horror-thriller co-pro, Amenábar surprised everyone by risking his growing reputation and career in a major transatlantic project with the moguls of ‘independent’ Hollywood. Thanks to the Sundance Film Festival of

in Alejandro Amenábar
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
Comedy, subcultures, television
Peter Buse, Núria Triana Toribio, and Andy Willis

accompanying him, the Professor enters the hallway of the boy’s house. The visual style is clearly that of ‘reality’ TV shows, and the ‘exorcism’ that follows is also clearly staged. Just in case we were in any doubt that it is a sham, José María, who is watching the show in a bar with Father Berriartúa, exclaims that it is all a set-up. Cavan passes the boy’s father who is holding up garlic and enters the boy’s room where he is writhing on the bed and puking like Linda Blair in The Exorcist (1973) and any number of actors in the cheap European horror film rip-offs that

in The cinema of Álex de la Iglesia
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Horror production
Peter Hutchings

, remind one instead of certain pre-1960s European horror films (for example, Vampyr ); but here these qualities do not connect in any meaningful way with the broader thematic preoccupations of the British horror productions in which they appear. 3 The modernising impulse evident in Witchcraft was also apparent in two films also released in 1964, Devils of Darkness (Lance Comfort) and Dr Terror’s House of Horrors (Freddie Francis). Devils of Darkness was the first British-made vampire film with a

in Hammer and beyond
genre in Franju’s longs métrages
Kate Ince

interesting case study of the multiple cross-currents in international horror production in the 1950s: it is linked to German expressionism and early European horror through the aesthetic created by photographer Eugen Shuftan, has narrative affinities with the Universal horror films of the 1930s (especially The Bride of Frankenstein ), and coincides historically and in narrative terms with 1950s science-fiction monster movies

in Georges Franju
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The cinema of Fernando Méndez
Valentina Vitali

, he was not the first producer to resort to the tropes of horror, or, for that matter, to US and European horror, in order to sustain the circulation of a production in a competitive film market. His choice of horror and, more specifically, of a particular brand of it, Dracula as a generic trope, is indicative of the extent to which immediate film industrial pressures played on the producer and director, but it says little about the nature of those pressures. The problem with explaining away the use of generic categories in certain films as derivative of other films

in Capital and popular cinema
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Michael Goodrum and Philip Smith

direct response to the crippled and mutilated veterans who returned from the First World War.23 These images of disfigured bodies also found a home in cinema in the form of the rat-like vampire in Nosferatu and the autonomous hand in Orlacs Hände. European horror cinema, then, offered a window into the cultural unconscious after the First World War. American filmmakers found themselves scrambling to catch up. The earliest film interventions in horror came from Universal Studios, which began production of what is now known as the Universal Monsters series of films in

in Printing terror