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Russ Hunter

European horror films have often been characterised by a tendency towards co-production arrangements. Recent developments within regional European funding bodies and initiatives have led to a proliferation of films that combine traditional co-production agreements with the use of both regional and intra-regional funding sources. This article examines the extent to which the financial structuring of Creep(Christopher Smith, 2004), Salvage (Lawrence Gough), and Trollhunter (André Øvredal, 2010) informed the trajectory of their production dynamics, impacting upon their final form. Sometimes, such European horror films are part of complex co-production deals with multiple partners or are derived from one-off funding project. But they can also utilise funding schemes that are distinctly local.

Film Studies
Exclusions and Exchanges in the History of European Horror Cinema
Peter Hutchings

British horror cinema is often excluded from critical work dealing with European horror cinema or, as it is frequently referred to, Eurohorror. This article argues that such exclusion is unwarranted. From the 1950s onwards there have been many exchanges between British and continental European-based horror production. These have involved not just international co-production deals but also creative per- sonnel moving from country to country. In addition, British horror films have exerted influence on European horror cinema and vice versa. At the same time, the exclusion of British horror from the Eurohorror category reveals limitations in that category, particularly its idealisation of continental European horror production.

Film Studies
Abstract only
Re-Reading European Trash Cinema (1988–98)
Antonio Lázaro-Reboll

Discussion of the horror film fanzine culture of the 1980s and early 1990s has been dominated by an emphasis on questions around the politics of taste, considerations of subcultural capital and cultism in fan writing, and processes of cultural distinction and the circulation of forms of capital. Sconce‘s concept of paracinema has come to shape the conceptual approach to fanzines. The aim of this article is to refocus attention on other areas of fanzine production, providing a more nuanced and richer historicisation of these publications and the ways they contributed to the circulation, reception and consumption of European horror film. Focusing on the fanzine European Trash Cinema (1988–98) I propose a return to the actual cultural object – the printed zine – examining the networks of producers converging around, and writing about, Eurohorror films and related European trash cinematic forms, as well as the contents within the publication itself.

Film Studies
Exclusions and exchanges in the history of European horror
Peter Hutchings

Originally published in Film Studies 15.1 (2016), 54–65. The concept of Eurohorror In 2007 the British Film Institute published, as part of its Screen Guide series, 100 European Horror Films . 1 Other Screen Guides have focused on traditional genres such as the western, science fiction, the musical and documentary, on non-Western products such as anime and Bollywood films, and on more critically constructed groupings, including cult films, film noir and road movies. Where

in Hammer and beyond
Abstract only
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.

Johan Höglund

normative, stable notions of individuality, and with an understanding of the world as conveniently divided into good and evil. Thus, this chapter will investigate the possibility that Nordic Gothic games critically explore the same ideological terrain. New Nordic media developers: Alan Wake While this chapter is the first study of Nordic Gothic new media as such, there have been attempts at mapping European Gothic and horror games. In ‘European Horror Games: Little

in Nordic Gothic
Introduction to the new edition
Johnny Walker

factors ranging from shifts in national film policy to the boom in accessible prosumer technology and the rise of DVD and online streaming platforms. The new slasher boom of the mid-1990s and a spike in East Asian and European horror production led to a swelling in popularity for the genre in cinemas and on video. As far as theatrically released films are concerned, Scream (Wes Craven, 1996) showed that there was international demand for youth-oriented genre pictures, while The Blair Witch Project (Eduardo

in Hammer and beyond
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
Spanish horror
Paul Julian Smith

, Peter W. ( 1982 ) ‘El espíritu de la colmena: The Monster, the Place of the Father, and Growing up in the Dictatorship’, Vida Hispánica , 31 : 3 , 13–17 . Gant , Charles ( 2009 ) ‘Do the “Right” Thing: European Horror at UK Box Office’, Sight & Sound , 19 : 6 (June), p. 9. Internet Movie Database (IMDb), ‘Pan’s Labyrinth’, [accessed 19

in Spanish cinema 1973–2010
Gothic aesthetics and feminine identification in the filmic adaptations of Clive Barker
Brigid Cherry

. 15 See Brigid Cherry, ‘Beyond “Suspiria”: The Place of European Cinema in the Fan Canon,’ in Patricia Allmer, Emily Brick, and David Huxley (eds), European Nightmares: European Horror Cinema Since 1945 (London: Wallflower Press, 2012 ), pp. 25–34; and Cherry, ‘Subcultural Tastes,’ pp. 201

in Clive Barker