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Gender, the family and eroticism
Kate Ince

it made its 1963 protest (57). Fetishism of costume is pronounced in Judex , and a certain fetishism of more contemporary clothing comes through in the young people’s leathers in La Tête contre les murs , and in the shiny black rainwear worn by Louisa/Alida Valli in Les Yeux sans visage . (Probably because of other roles she took in Italian and horror cinema that led to her being known just as ‘Valli’, perversity was an

in Georges Franju
Valentina Vitali

radio, rock ’n’ roll and youth culture, as well as with increased nudity and salaciousness. The magazine’s circulation peaked in 1955, at 1.15 million (Cameron, Fishlock and Cottrell 1984). Another example is Hammer’s horror cinema, in which the semi-respectable tradition of the gothic novel was used to rehearse the discrepancies between a then new technology-based rationalism and the more ethereal values of individuation, the legitimacy of the pursuit of one’s desires in the face of authority and of putting one’s desires above the requirements of social reproduction

in Capital and popular cinema
Martine Beugnet

privileges the visual and the rhythmic (that is, the way the images are edited together but also the structure of the soundtrack, ambient or musical) over scripted dialogue and plot. Trouble Every Day is probably the most daring in its choice of subject and its play on the tradition of horror cinema. This renewed formal quest and the favouring of taboo topics set her work apart from the documentary and MTV-inspired cinéma de

in Claire Denis
Ruth Barton

Josie traversing the lonely bogscape near a little-used narrow-gauge railway of the kind employed by Bord na Móna (the Irish Turf Development Board) to transport fuel. Only at the very end of the film does Abrahamson provide the shot of a still, early morning river, which one might expect of a film set in the Irish countryside, but then this moment of pastoralism is ruptured, first with two shots of flies on its surface, and then with the intrusion of death. This is not the Bog Gothic of horror cinema, which is just the kind of representational convention

in Irish cinema in the twenty-first century
Michael Goodrum and Philip Smith

: Lexington Books, 2001), 112. 16 Kaja Silverman, Male Subjectivity at the Margins (London: Routledge, 1992), 69. 17 Jonathan Rigby, American Gothic: Sixty Years of Horror Cinema (London: Reynolds and Hearn, 2007), 294 18 Stefan Dziemianowicz, ‘Contemporary Horror Fiction 1950–1998’, in Neil Barron (ed.), Fantasy and Horror (Lanham, MD: Scarecrow Press, 1999), 199–244 (200–1). 19 Beatrice M. Murphy, ‘Horror Fiction from the Decline of Universal Horror to the Rise of the Psycho Killer’, in Reyes (ed.), Horror: A Literary History, 131– 158. 20 Roger Sabin, Adult Comics: An

in Printing terror
Michael Goodrum and Philip Smith

:24 82 Printing terror The process of ‘rephallusization’ in media involved shifting representations of the female body, particularly through film. Horror, certainly, played a role in this regard; Raymond Durgnat argues, ‘[t]he only films whose erotic content is as open as that of musicals are horror films’.22 The content of horror comics was informed and emboldened not only by horror cinema but the increasing acceptance of a genre that outdid even the musical in its overt eroticism. Pornography was hardly a new phenomenon and the pin-up, as discussed in more detail

in Printing terror
Michael Goodrum and Philip Smith

solution to another. This meant a remediation of past narratives, imagery, and techniques, within an increasingly complex matrix of unrest, industrially and contextually. The continuing strictures of the Code, even after revision, meant that horror comics could not compete with the innovations in horror cinema by directors such as George Romero (Night of the Living Dead, 1968), Wes Craven (The Last House on the Left, 1972), and Tobe Hooper (The Texas Chainsaw Massacre, 1974). Similarly, films such as Rosemary’s Baby (1968) documented fears of and about GOODRUM

in Printing terror
Will Higbee

French ‘classics’ of the 1950s; while also developing a love of American science-fiction blockbusters (Spielberg, Lucas) and horror cinema (Craven, Argento and Romero) from the late 1970s and early 1980s (Kassovitz 1998 ). The young Kassovitz was, however, less enthusiastic about French cinema of the same period, as comments made during an interview in the late 1990s prove

in Mathieu Kassovitz
Sarah Wright

3 Memory and the child witness in ‘art-house horror’ ‘Cinema can lay claim to the child, as the child lays claim to cinema’, writes Vicky Lebeau, citing the sequence where Ana (Ana Torrent) and her sister Isabel (Isabel Tellería), two girls living in the post-war Spain of the 1940s, watch James Whale’s Frankenstein (1931) in a makeshift cinema in Víctor Erice’s El espíritu de la colmena: ‘the sequence yields one of the most compelling images of children’s look at the screen, or the look of the child caught up in the wonders, and horrors of the moving image

in The child in Spanish cinema
Abstract only
Fred Botting

production of the paternal figure. There may be a limit to the momentum of disappearance and return in which the figure of the father is lost and recovered, to the point that loss alone takes over: losses of power, of credibility, of control become increasingly evident in cinematic representations. In the late 1970s, with the revival of popular horror cinema, ‘the genre begins to overtly interrogate paternal

in Limits of horror