Exclusions and Exchanges in the History of European Horror Cinema
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.
This article investigates the emotive potency of horror soundtracks. The account
illuminates the potency of aural elements in horror cinema to engage spectators body
in the light of a philosophical framework of emotion, namely, the embodied appraisal
theories of emotion. The significance of aural elements in horror cinema has been
gaining recognition in film studies. Yet it still receives relatively scarce
attention in the philosophical accounts of film music and cinematic horror, which
tend to underappreciate the power of horror film sound and music in inducing
emotions. My investigation aims both to address the lacuna, and facilitate dialogue
between the two disciplines.
Since 2005 Tim Burton’s imagination has frequently turned to Victorian-related
subjects. Focusing primarily on Corpse Bride (2005),
Sweeney Todd (2007) and Alice in Wonderland
(2010), this article argues that Burton’s response to (neo-) Victorian culture
is a distinctly Gothic one. Unlike other more literary and canonical types of
neo-Victorianism it engages with the popular and strongly Gothicised conceptions
of the Victorian that emerged through the horror cinema of the twentieth
century. It is also Gothic in the way that it self-consciously blends the
Victorian with other cultural trends. As a result, rather than offering a
strongly theorised, academic view of the Victorians, Burton remediates them for
his own aesthetic purposes.
The new wave of Korean cinema has presented a series of distinct genre productions, which are influenced by contemporary Japanese horror cinema and traditions of the Gothic. Ahn Byeong-ki is one of Korea‘s most notable horror film directors, having made four Gothic horrors between 2000 and 2006. These transnational horrors, tales of possession and avenging forces, have repeatedly been drawn to issues of modernity, loneliness, identity, gender, and suicide. Focusing on the figure of the ghostly woman, and the horrors of modern city life in Korea, this essay considers the style of filmmaking employed by Ahn Byeong-ki in depicting, in particular, the Gothic revelation.