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Post-war national identity and the spirit of subaltern vengeance in Ringu and The Ring
Linnie Blake

seen in the case of post-war Germany, nonetheless remain gravely wounded by the events of the historic past.3 As this chapter will argue, the capacity of onryou-style narratives to undertake such culturally grounded explorations of national trauma is a product of the genre’s history in Japan, specifically its implicit opposition to the right-wing militarism that led to the Pacific War. For since the 1960s, Japanese horror cinema has repeatedly had the female corpse return from the dead to demand retribution for the hitherto concealed wounds inflicted on the nation by

in The wounds of nations
Peter Hutchings

The marginalisation of both Count Dracula and Baron Frankenstein in British horror cinema of the 1970s was only one part of a much wider rejection and casting out of those male authority figures who had been so important in earlier Hammer horrors. At the same time the question of the woman’s desire – a troubling element in The Sorcerers (Michael Reeves, 1967) and The Devil Rides Out (Terence Fisher, 1968) – became a more pressing and unavoidable issue in 1970s horror, with this sometimes

in Hammer and beyond
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Fred Botting

terror, most evident in contemporary culture in the screams that attend a showing of a horror movie. The development of computer games owes debts to horror cinema and incorporates some of its features and, even, some images, in game design. Silent Hill (1999), for example, is a horror game which involves ‘tense wanderings in dark environments’ that are ‘interrupted with shocks, sudden appearances of

in Limits of horror
Generic and thematic mutations in horror film
Editors: Richard J. Hand and Jay McRoy

From its earliest days, horror film has turned to examples of the horror genre in fiction, such as the Victorian Gothic, for source material. The horror film has continually responded to cultural pressures and ideological processes that resulted in new, mutated forms of the genre. Adaptation in horror cinema is a useful point of departure for articulating numerous socio-cultural trends. Adaptation for the purposes of survival proves the impetus for many horror movie monsters. This book engages generic and thematic adaptations in horror cinema from a wide range of aesthetic, cultural, political and theoretical perspectives. These diverse approaches further evidence the horror genre's obsession with corporeal transformation and narratological re-articulation. Many horror films such as Thomas Edison's Frankenstein, John S. Robertson's Dr Jekyll and Mr Hyde, David Cronenberg'sVideodrome, Abel Ferrara's Body Snatchers, and Terence Fisher's The Gorgon are discussed in the book. The book sheds welcome light upon some of the more neglected horror films of cinema's first century, and interrogates the myriad alterations and re-envisionings filmmakers must negotiate as they transport tales of terror between very different modes of artistic expression. It extends the volume's examination of adaptation as both an aesthetic process and a thematic preoccupation by revealing the practice of self-reflexivity and addresses the remake as adaptation. The book analyses the visual anarchy of avant-garde works, deploys the psychoanalytic film theory to interpret how science and technology impact societal secularisation, and explores the experimental extremes of adaptation in horror film.

The dollars are coming!

While post-war popular cinema has traditionally been excluded from accounts of national cinemas, the last fifteen years have seen the academy’s gradual rediscovery of cult and, more, generally, popular films. Why, many years after their release, do we now deem these films worthy of study? The book situates ‘low’ film genres in their economic and culturally specific contexts (a period of unstable ‘economic miracles’ in different countries and regions) and explores the interconnections between those contexts, the immediate industrial-financial interests sustaining the films, and the films’ aesthetics. It argues that the visibility (or not) of popular genres in a nation’s account of its cinema is an indirect but demonstrable effect of the centrality (or not) of a particular kind of capital in that country’s economy. Through in-depth examination of what may at first appear as different cycles in film production and history – the Italian giallo, the Mexican horror film and Hindi horror cinema – Capital and popular cinema lays the foundations of a comparative approach to film; one capable of accounting for the whole of a national film industry’s production (‘popular’ and ‘canonic’) and applicable to the study of film genres globally.

Introduction to the new edition
Johnny Walker

his colleagues and many working across Screen Studies. Hammer and Beyond remains his defining work, representing the first of several significant contributions that he made to the study of horror cinema over his career, including the revered textbook The Horror Film , the Historical Dictionary of Horror Cinema , and monographs on Hammer’s most famous film, Dracula (1958), and its director Terence Fisher. 5 This new edition seeks to commemorate Hutchings’ key interventions in the field by reprinting the

in Hammer and beyond
Hammer Film Studios’ reinvention of horror cinema
Morgan C. O’Brien

changed the face of horror cinema. With a production budget under £65,000 ($200,000), The Curse of Frankenstein (hereafter, Curse ) recouped its costs many times over and was an international hit (Hearn). Curse announced Hammer’s arrival as a cinematic player on the world stage, spawning six pseudo-sequels and launching a decade-long vogue for Gothic horror films. 1 Notably, Hammer’s film pre-dates the film that gave birth to the Italian Gothic movement, Mario Bava’s La Maschera del Demonio (1960, Black Sunday in the UK), and also American International

in Adapting Frankenstein
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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

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Linnie Blake

-hour television documentary Heimat (1984) an identifiably German cinema could be seen to emerge; one that operated in dialogue with the ways in which other nations had represented the German past. But for all these films sought to evoke the horrors of that past, often through witness testimony, the disgusting viscerality of the Shoah’s annihilation of millions was not a subject for graphic depiction. And this is where horror cinema can be seen to fulfil a significant socio-cultural and psycho-political function. As argued in the Introduction to this study, critical engagement

in The wounds of nations
Clive Barker’s Halloween Horror Nights and brand authorship
Gareth James

the film industry, this chapter will then discuss the role of theme parks and Barker's mazes within broader industrial trends for branding, horror cinema and the aesthetics of his films. Finally, the article will identify how Barker's experimentation with theme park mazes informs ongoing trends for his success as a brand-name auteur and producer across different media forms

in Clive Barker