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Michael Goodrum and Philip Smith

[resulting] in a complex GOODRUM 9781526135926 PRINT.indd 174 04/12/2020 09:24 Trauma in the 1960s and 1970s 175 and disturbing depiction of violence’s relation to the social’, which, in the process, refused any escapist project.12 American horror cinema of the 1970s gazed into the abyss and dramatized what it saw. In his investigation of this development, Noël Carroll notes the political acuity, commercial success, and lasting impact of the film cycle that began in the 1970s, coincident with these struggles over American identity and prestige. Carroll remarks that

in Printing terror
Towards a cinema of the senses
Martine Beugnet

series of films that experiment thematically and formally with themes that are close to those of horror cinema (the work of directors like Gaspard Noé, Philippe Grandieux, Marina de Van for instance). 41 But like Denis’ films, the work of these filmmakers sidesteps genre conventions and remains marginal within national production. Amongst French film directors of previous generations, masters of the horror genre such as

in Claire Denis
The rise of Nordic Gothic
Yvonne Leffler and Johan Höglund

time when Nordic Gothic and horror film experienced a renaissance. As Tommy Gustavsson has observed, Nordic horror cinema struggled against both economic and systemic obstacles during the latter half of the twentieth century. 26 The reluctance of the Nordic film institutes, the Swedish in particular, to fund genre film, meant that it was not until the wide availability of low-cost, digital photography that film makers in the Nordic region were able to make Gothic and horror film. When this

in Nordic Gothic
The War on Terror and the resurgence of hillbilly horror after 9/11
Linnie Blake

broke free of the mechanisms of social, cultural and psychological repression that attempted to contain his deviant repudiation of dominant norms and values. In so doing, of course, he not only enabled audiences to share in his vicarious pleasures, but provided horror cinema with an iconic means of peeling back ideologically expedient dressings that other branches of the culture industry had applied to the wounds of the period: specifically the damage done to national self-image as the war in Vietnam raged abroad and protests against it at home informed all aspects of

in The wounds of nations
America’s last frontier hero in the age of Reaganite eschatology and beyond
Linnie Blake

atomised and isolated subjectivity; whereby alienated individuals appear reluctant, unwilling or unable to cohere into a cooperative and democratic social group. In horror cinema’s preoccupation with the figure of the serial killer throughout the 1980s and beyond we can see, therefore, a further means of negotiating the culturally dislocating legacy of the previous decade, a period that as we have seen in Chapter All hail to the serial killer 103 3 had left Americans pronouncedly confused as to what now constituted ‘American-ness.’ 5 Intriguingly, mass cultural

in The wounds of nations
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Kinga Földváry

all periods of film history, before the recent ‘zombie renaissance’ in the twenty-first century brought them into the mainstream of popular culture. 28 Yet, since the earliest days of horror cinema, there have been instances of cross-fertilisation between Shakespeare, the most canonical of authors, and horror, allegedly the most debased of all genres. Peter Hutchings, in his analysis of some of these meeting points, with reference to the 1931 Dracula (dir. Tod Browning) draws attention to the fact that ‘there might be a more complicated and context-specific set

in Cowboy Hamlets and zombie Romeos
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David Annwn Jones

manikin, which perhaps goes some way to explain the lurid colours and apparent simplicity of his paintings. Adopted by the Surrealist movement, Trouille’s work always exhibited fetishistic Gothic tendencies. His paintings reference Nosferatu and other horror characters from horror cinema. My Tomb shows a naked nun (a shadowed hand below her breast, a bat on her crotch) phoning from the centre of the

in Gothic effigy
‘A tale of two cads’
Andrew Roberts

Studios (3rd ed.), London : Continuum . Bean , Robin ( 1960 ), ‘ Please Turn Over ’, Films and Filming , February, 24 . Bell , Melanie ( 2016 ), Julie Christie , London : BFI/Palgrave Macmillan . Burton , Alan , O’Sullivan , Tim and Wells , Paul (eds.) ( 2000 ), The Family Way: The Boulting Brothers and British Film Culture , Trowbridge, UK : Flicks Books . Chibnall , Steve and Petley , Julian (eds.) ( 2002 ), British Horror Cinema , London : Routledge . Conrad , Derek ( 1959 ), ‘ What

in Idols of the Odeons
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Valentina Vitali

mitigate capitalism’s most (self-) destructive tendencies, by, among other things, contributing to and being accountable for the functioning of a country’s infrastructure and the sustenance of the labour force necessary for capitalism’s long-term survival – I have called this social reproduction capital. I showed that commercial genres such as horror cinema could be made better sense of if understood as products of radical capital – in the sense that the latter’s pressures and priorities could be seen to be at work, for better and for worse, in horror and giallo films

in Capital and popular cinema
The broken body and the shining body
Sara Wasson and Sarah Artt

discusses Williams and the assertion that ‘women’s possession or ownership of the gaze is thus problematical [within horror cinema] and it may be that women are thus “taught” that they should refuse to look’. 30 This brings us back to the problem of Twilight and whether Bella Swan is indeed ‘blinded by sparkle’. What if Twilight advises us that all we are supposed to do is

in Open Graves, Open Minds