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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
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
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
Abstract only
Horror production
Peter Hutchings

, remind one instead of certain pre-1960s European horror films (for example, Vampyr ); but here these qualities do not connect in any meaningful way with the broader thematic preoccupations of the British horror productions in which they appear. 3 The modernising impulse evident in Witchcraft was also apparent in two films also released in 1964, Devils of Darkness (Lance Comfort) and Dr Terror’s House of Horrors (Freddie Francis). Devils of Darkness was the first British-made vampire film with a

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