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The cinema of Fernando Méndez
Valentina Vitali

same year El ataúd del vampiro / The Vampire’s Coffin, a sequel also directed by Méndez, went into production, to be released on 28 August of the following year. El vampiro has since been considered a seminal moment of Mexican post-war horror cinema. As Doyle Greene put it, ‘El vampiro’s commercial and critical success in Mexico … provided the impetus for the increased production of Mexican horror films throughout the next two decades’ (2005: 8). There are problems with Greene’s claim, or, rather, with his suggestion that Méndez’ film played an industrially

in Capital and popular cinema
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Hammer and other horrors
Peter Hutchings

, The Hound of the Baskervilles , The Mummy and The Gorgon , embody the Hammer aesthetic in its most accomplished form. These five films can be seen as centres of gravity within Hammer horror, in the same way that Hammer horror itself provides a basic definitional model of British horror cinema in general. Consequently, much of what follows will be centred on these films, although the other nine will also be considered in some detail. (The Frankenstein and Dracula films will be dealt with at greater

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

boom in American science-fiction ‘monster’ movies and the spectacular success of Britain’s Hammer studio took horror cinema into its modern age. In the 1950s and 1960s, however, French film journals declined to view horror as a separate genre by continuing to locate it within the category of the fantastique . As critical writing on horror started to develop, a strong difference emerged between the anglophone and continental European

in Georges Franju
REC and the contemporary horror film
Agnieszka Soltysik Monnet

), the second is related to the importance accorded to special effects and make-up art in horror cinema. What I propose to do in this chapter is to examine a recent horror film, Jaume Balagueró’s and Paco Plaza’s REC ( 2007 ), in order to see how these core genre features mentioned above work in tandem with other more recent developments, including

in Monstrous media/spectral subjects
Richard J. Hand

breaking of the line when Raymond (Bernard-Pierre Donnadieu) stares directly into the viewer’s eyes at the end of the film is one of the most arresting moments in European horror cinema. George Sluizer remade the film himself for Hollywood in 1993, and his concessions blunt the sharp terror of the ending in his original version. In choosing to adapt the novel to radio Oliver Emanuel

in Listen in terror
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Defining the ecoGothic
Andrew Smith and William Hughes

modern societies have appeared to disavow any necessary connection to nature, the natural world seems to reject humanity as expendable. Humans are cast adrift in an alien, hostile environment, encountering monsters unleashed by the destructive force of a consumerist, solipsistic society. Tyburski argues that these recent films reflect a growing trend in ‘eco-horrorcinema which taps into this growing

in Ecogothic
Rechnological necromancy and E. Elias Merhige’s Shadow of the Vampire
Carol Margaret Davison

Schreck and the violently assaultive, sadistic camera associated with patriarchal power and its victimising gaze. The same camera in horror cinema that, as Carol J. Clover argues, ‘plays repeatedly and overtly on the equation between the plight of the victim and the plight of the viewing audience’ ( 1995 : 201), also fosters collusion between the filmmaker and his or her vampire

in The Gothic and death
Harvey O’Brien

. 32 Linnie Blake, The Wounds of Nations: Horror Cinema, Historical Trauma and National Identity (Manchester and New York: Manchester University Press, 2008 ), p. 14.

in Clive Barker
British pagan landscapes in popular cinema
Tanya Krzywinska

: Penguin Books ). Hetherington , K . ( 2000 ), New Age Travellers ( London : Cassell ). Holland , T . ( 2000 ), Deliver Us from Evil ( London : Abacus ). Hunt , L . ( 2002 ), ‘Necromancy in the UK: witchcraft and the occult in British Horror’ , in Chibnall , S. and Petley , J. (eds), British Horror Cinema (London, Routledge

in Cinematic countrysides
Finding meaning and identity in the rural Australian landscape
Jonathan Rayner

mixes art-cinema style with the materials of horror cinema, the incongruity of (British Victorian) culture in the midst of an antagonistic Australian nature is again the crucial motif. Picnic ’s suggestion of a sympathetic convergence between human sexuality and the landscape’s primordial power can be related backwards to films such as Walkabout (Nicolas Roeg, 1971), which elegises the rape of the

in Cinematic countrysides