manikin, which perhaps goes some way to explain the lurid colours and
apparent simplicity of his paintings. Adopted by the Surrealist
movement, Trouille’s work always exhibited fetishistic Gothic
tendencies. His paintings reference Nosferatu and other horror
characters from horrorcinema. My Tomb shows a naked nun (a
shadowed hand below her breast, a bat on her crotch) phoning from the
centre of the
time when Nordic Gothic and horror film experienced a renaissance. As Tommy Gustavsson has observed, Nordic horrorcinema struggled against both economic and systemic obstacles during the latter half of the twentieth century.
The reluctance of the Nordic film institutes, the Swedish in particular, to fund genre film, meant that it was not until the wide availability of low-cost, digital photography that film makers in the Nordic region were able to make Gothic and horror film. When this
Studios (3rd ed.), London : Continuum .
Bean , Robin ( 1960 ), ‘ Please Turn Over ’, Films and Filming , February, 24 .
Bell , Melanie ( 2016 ), Julie Christie , London : BFI/Palgrave Macmillan .
Burton , Alan , O’Sullivan , Tim and Wells , Paul (eds.) ( 2000 ), The Family Way: The Boulting Brothers and British Film Culture , Trowbridge, UK : Flicks Books .
Chibnall , Steve and Petley , Julian (eds.) ( 2002 ), British HorrorCinema , London : Routledge .
Conrad , Derek ( 1959 ), ‘ What
America’s last frontier hero in the age of Reaganite eschatology and beyond
and isolated subjectivity; whereby alienated individuals appear reluctant, unwilling or unable to cohere into a cooperative and democratic social group. In horrorcinema’s preoccupation with the figure
of the serial killer throughout the 1980s and beyond we can see,
therefore, a further means of negotiating the culturally dislocating
legacy of the previous decade, a period that as we have seen in Chapter
All hail to the serial killer
3 had left Americans pronouncedly confused as to what now constituted ‘American-ness.’ 5
Intriguingly, mass cultural
The War on Terror and the resurgence of hillbilly horror after 9/11
of the mechanisms of social, cultural and psychological repression
that attempted to contain his deviant repudiation of dominant norms
and values. In so doing, of course, he not only enabled audiences to
share in his vicarious pleasures, but provided horrorcinema with an
iconic means of peeling back ideologically expedient dressings that
other branches of the culture industry had applied to the wounds of
the period: specifically the damage done to national self-image as
the war in Vietnam raged abroad and protests against it at home
informed all aspects of
all periods of film history, before the recent ‘zombie renaissance’ in the twenty-first century brought them into the mainstream of popular culture. 28
Yet, since the earliest days of horrorcinema, there have been instances of cross-fertilisation between Shakespeare, the most canonical of authors, and horror, allegedly the most debased of all genres. Peter Hutchings, in his analysis of some of these meeting points, with reference to the 1931 Dracula (dir. Tod Browning) draws attention to the fact that ‘there might be a more complicated and context-specific set
Sound can also be immensely uncanny: the alienating phenomenon of
the echo (one’s own voice momentarily detached from the self) and
other forms of reverberation; noises (whether familiar or unearthly)
that are heard but remain unseen; sounds beyond the door; things that go
bump in the night.
Sounds frightening: the
auditory in horror culture
Horror fiction and horrorcinema
Williams and the assertion that ‘women’s possession or
ownership of the gaze is thus problematical [within horrorcinema] and
it may be that women are thus “taught” that they should
refuse to look’. 30 This brings us back to the problem of Twilight
and whether Bella Swan is indeed ‘blinded by sparkle’.
What if Twilight advises us that all we are supposed to do is
mitigate capitalism’s most (self-)
destructive tendencies, by, among other things, contributing to and being
accountable for the functioning of a country’s infrastructure and the sustenance of the labour force necessary for capitalism’s long-term survival – I
have called this social reproduction capital. I showed that commercial
genres such as horrorcinema could be made better sense of if understood
as products of radical capital – in the sense that the latter’s pressures and
priorities could be seen to be at work, for better and for worse, in horror and
begin the discussion of undead Shakespeare figures with this group, particularly since the cinematic Shakespearean vampires appeared slightly earlier than their fellow zombies. Even though the short introduction to this chapter treated zombies and vampires as if they belonged to the same category (as so-called undead creatures populating subgenres of horrorcinema), there are obvious differences between their symbolism and meaning, and equally in the target audiences drawn to their screen representations. The new millennium has seen a resurgence in the popularity of