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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
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
Barry Jordan

emphatic hype, based on only two films, could have been a heavy burden to bear for such an inexperienced young filmmaker. Yet, rather than play safe by making another relatively small-scale, easily manageable, European horror-thriller co-pro, Amenábar surprised everyone by risking his growing reputation and career in a major transatlantic project with the moguls of ‘independent’ Hollywood. Thanks to the Sundance Film Festival of

in Alejandro Amenábar
Barry Jordan

European sources, by 1994–95 Amenábar had seen very little European cinema, let alone European horror cinema (such as the Italian ‘giallo’) and, perhaps surprisingly, was even unacquainted with local Spanish ‘auteurs maudits’ such as Villaronga and Zulueta (Rodríguez Marchante 2002 : 97). It was only after Tesis and Abre los ojos , for example, that Amenábar began to acknowledge the works of European

in Alejandro Amenábar
Comedy, subcultures, television
Peter Buse, Núria Triana Toribio, and Andy Willis

accompanying him, the Professor enters the hallway of the boy’s house. The visual style is clearly that of ‘reality’ TV shows, and the ‘exorcism’ that follows is also clearly staged. Just in case we were in any doubt that it is a sham, José María, who is watching the show in a bar with Father Berriartúa, exclaims that it is all a set-up. Cavan passes the boy’s father who is holding up garlic and enters the boy’s room where he is writhing on the bed and puking like Linda Blair in The Exorcist (1973) and any number of actors in the cheap European horror film rip-offs that

in The cinema of Álex de la Iglesia
genre in Franju’s longs métrages
Kate Ince

interesting case study of the multiple cross-currents in international horror production in the 1950s: it is linked to German expressionism and early European horror through the aesthetic created by photographer Eugen Shuftan, has narrative affinities with the Universal horror films of the 1930s (especially The Bride of Frankenstein ), and coincides historically and in narrative terms with 1950s science-fiction monster movies

in Georges Franju
Abstract only
The cinema of Fernando Méndez
Valentina Vitali

, he was not the first producer to resort to the tropes of horror, or, for that matter, to US and European horror, in order to sustain the circulation of a production in a competitive film market. His choice of horror and, more specifically, of a particular brand of it, Dracula as a generic trope, is indicative of the extent to which immediate film industrial pressures played on the producer and director, but it says little about the nature of those pressures. The problem with explaining away the use of generic categories in certain films as derivative of other films

in Capital and popular cinema