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Identity and culture in Clive Barker’s ‘The Forbidden’ and Bernard Rose’s Candyman
Brigid Cherry

an appropriate guide to the aesthetics of horror and the narrative conventions which the female viewers prefer. These films, then, provide a set of valuable case studies which can contribute to a definition of feminine forms of horror cinema and illustrate the aspects of horror that are most appealing to the female audience. The prevalence of films associated with Clive Barker on the list cannot be ignored

in Monstrous adaptations
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Horror now and then
Fred Botting

idealised bodily forms. Gothic forms, though celebrated for their subcultural and subversive status, for their fantastic disclosure of another, ‘realer’ if darker reality are inextricably entangled in webs of simulation. Discussing the way that ideas of reality change in respect of the conventions of visual communication, Teresa de Lauretis draws numerous examples from horror cinema to illustrate the

in Limits of horror
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Colette Balmain

obsolete. The period setting is important, as it parallels contemporary concerns at the time over the breakdown of social structures in the face of economic expansion and the perceived Westernization of Japanese society. (Balmain 2008 : 54) The 1950s and 1960s saw the emergence of gothic horror cinema in both Japan and South Korea. In

in Globalgothic
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Globalising the supernatural in contemporary Thai horror film
Katarzyna Ancuta

interactions and exchange’ that Jonathan Xavier Inda and Renato Rosaldo note are entailed in current definitions of globalisation ( 2008 : 4). But does this mean that we can stipulate the existence of a separate category of globalgothic horror and, if so, what would be the potential consequences? The case of Thai horror cinema is a good starting point for discussion, since both ‘gothic’ and ‘horror’ are

in Globalgothic
American gothic to globalgothic
James Campbell

within the book, film, gaming and comic book industries, it is unfortunate that it should be the recent surfeit of lacklustre, high-budget American remakes – of American horror cinema ‘classics’, and of the ‘modern classics’ of world horror cinema – that stand to define America’s international reputation in this field. Not only do they exacerbate the stigma already attached to the culture industries

in Globalgothic
Sian Barber

be addressed. Or, It has been the trend within writing on British horror cinema to identify the key players within the field, such as Steve Chibnall’s work on Peter Walker or Peter Hutchings’ study of Terence Fisher, but what of more modern directors who work within the horror film genre? How does a film like 28 Days Later (2002) fit within the established conventions and traditions of British horror cinema? As well as offering a review of all the relevant literature, writing in this way will also help you to identify the sources you have used in your work. What

in Using film as a source
the horror genre and contemporary Spanish cinema
Andrew Willis

) Taking note of what both writers argue, I want to address the films of the Fantastic Factory as a body of work that has a strong relationship with the products of the American film industry but which also displays traits that can only be fully understood by placing them into contexts that exist beyond Hollywood. Therefore, what follows will acknowledge the influence of American horror cinema on the

in Contemporary Spanish cinema and genre
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Kate Ince

Franju’s directorial career, the very first session of the organisation was devoted to horror cinema (18). Many famous names of 1930s Paris attended the Cercle du Cinéma screenings, and the money they raised allowed Langlois and Franju to buy copies of films from dealers and at Paris’s flea markets (Maison de la Villette 1992 : 51). One important acquisition was the ‘Albatros’ collection, which included films by Feyder, Epstein, Duvivier

in Georges Franju
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Maria Holmgren Troy, Johan Höglund, Yvonne Leffler, and Sofia Wijkmark

(Oslo: Landslaget for norskundervisning, 1998); G. K. Omdal, Grenseerfaringer. Fantastisk literatur i Norge og omegn (Bergen: Fagbokforlaget, 2009). 8 G. Iversen, ‘Between Art and Genre: New Nordic Horror Cinema’, in M. Hjort and U. Lindqvist (eds), A Companion to Nordic Cinema (Malden: Wiley-Blackwell, 2016), pp. 332–50; Y. Leffler, ‘The Gothic Topography in Scandinavian Horror Fiction’, in M. Canini (ed.), The Domination of

in Nordic Gothic
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National cinema and unstable genres
Valentina Vitali

surplus accumulation at a particular point in time. Chapters 2, 3 and 4 trace the differing nature of that state–capital relation in Italy, Mexico and India, and how this impacted both on the production of giallo (thrillers) and horror films in these countries and, importantly, on these films’ position within Italy, Mexico and India’s accounts of their national cinemas. This leads me to the issue of critical positions that I highlighted at the opening of this Introduction. Positions vis-à-vis unstable genres such as horror cinema have tended to be examined through the

in Capital and popular cinema