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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
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David Annwn Jones

period-specific categorisation disputed by David Pirie in A New Heritage of Horror ( 2008 ) and Jonathan Rigby in English Gothic: Classic Horror Cinema 1897–2015 ( 2015 ) whose definitions of ‘Gothic cinema’ take in a considerable number of Hammer Horror titles from thirty years later. Georges Méliès’s Manoir du Diable / The Haunted Castle (1896) is sometimes cited as the earliest

in Gothic effigy
Genre and the shock of over-stimulation
Andrew Asibong

intellectual discussion was devoted to the horror genre in international cinema. Film journals emerging in the 1950s and 1960s such as Midi-Minuit, Fantastique and L’Écran fantastique championed both American and British examples of intelligent horror cinema, enthusiastically locating the genre within the (somewhat more respectable) category of le fantastique , a category with deep roots in nineteenth-century French literary

in François Ozon
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Tom Whittaker

, collective cheering …, a boiling pot of emotional communication with the screen.’ 14 The Moncloa Pacts were a series of agreements designed to curb the high unemployment rate and the ongoing recession. 15 For Spanish horror cinema that can be considered paracinema see Andy Willis ( 2003 : 71

in The Spanish quinqui film
Female werewolves in Werewolf: The Apocalypse
Jay Cate

of the narrative’s protagonist, Evan, which references tropes of twentieth-century horror cinema, particularly films including male werewolves. Evan wakes up at night in a strange place, with torn clothes and a feeling of dread. ‘Not again …’ he states, before offering more information: ‘The dreams … the wolves … and these scratches – what’s going on?’ (ii) If this scenario is not familiar enough to

in She-wolf
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Leonora Carrington’s cinematic adventures in Mexico
Felicity Gee

and it was definitely full of references to the film makers who had influenced me: directors from the golden age of American horror cinema, Buñuel, and of course the silent masters … Mansion of Madness puts one in mind of the kind of things that they used to show in Paris. I’ve seen some of the Grand Guignol shows and I loved them. 41 Aspects of surrealism, silent cinema, and horror are deployed in the film to explore connections between eroticism and madness; it is in ‘the domain of the erotic that reality and the fantastic really come together’. 42

in Surrealism and film after 1945
Into the frame of Clive Barker’s The Midnight Meat Train and Dread comic and film adaptations
Bernard Perron

because, ‘[Horror] Cinema so desperately needs stories.’ 10 In a time where the horror film genre lacks inventiveness to the point of remaking not-so-old classics (like the slashers of the 1980s), Clive Barker's short stories become remarkable options because of their narrative arc, their imagery, and their use of confined and moving spaces ( The Midnight Meat Train

in Clive Barker
National identity and the spirit of subaltern vengeance in Nakata Hideo’s Ringu and Gore Verbinski’s The Ring
Linnie Blake

of horror cinema, specifically those Japanese horror films most recently subject to adaptation in the United States. Over the past fifteen years, as the United States has sought to increase its international influence over the strategically significant nations of Afghanistan, Iraq, Iran and North Korea, it is notable that there has been an exponential increase in the availability, and hence consumption, of Japanese films

in Monstrous adaptations
Barry Jordan

horror cinema with a more serious feel). Amenábar admires a film like Medak’s which relies on atmosphere not blood, conveys a strong sense of traditional suspense and horror, especially through its performances, the interactions of the gazes, the reactions to offscreen sounds and a sophisticated use of music and soundscapes. And even though the film exploits a supernatural element, ‘lo hace de forma muy seria’ (Heredero 1997

in Alejandro Amenábar
Johan Höglund

, horror, science-fiction and war, melodrama and comedy, and move in and out of the Gothic mode. The concept of Nordic in Nordic Gothic new media is arguably more problematic than in more conventional media. What this book refers to as the Nordic Gothic novel is typically written in one of the Nordic languages and routinely placed within the geographical remit of the North. Similarly, while some Nordic directors of Gothic and horror cinema operate outside the Nordic region and make films in English, most Nordic Gothic films are linked to the Nordic

in Nordic Gothic