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Sound, horror and radio
Richard J. Hand

. Sound can also be immensely uncanny: the alienating phenomenon of the echo (one’s own voice momentarily detached from the self) and other forms of reverberation; noises (whether familiar or unearthly) that are heard but remain unseen; sounds beyond the door; things that go bump in the night. Sounds frightening: the auditory in horror culture Horror fiction and horror cinema

in Listen in terror
A renaissance of vampires and zombies
Kinga Földváry

begin the discussion of undead Shakespeare figures with this group, particularly since the cinematic Shakespearean vampires appeared slightly earlier than their fellow zombies. Even though the short introduction to this chapter treated zombies and vampires as if they belonged to the same category (as so-called undead creatures populating subgenres of horror cinema), there are obvious differences between their symbolism and meaning, and equally in the target audiences drawn to their screen representations. The new millennium has seen a resurgence in the popularity of

in Cowboy Hamlets and zombie Romeos
genre in Franju’s longs métrages
Kate Ince

boom in American science-fiction ‘monster’ movies and the spectacular success of Britain’s Hammer studio took horror cinema into its modern age. In the 1950s and 1960s, however, French film journals declined to view horror as a separate genre by continuing to locate it within the category of the fantastique . As critical writing on horror started to develop, a strong difference emerged between the anglophone and continental European

in Georges Franju
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The cinema of Fernando Méndez
Valentina Vitali

same year El ataúd del vampiro / The Vampire’s Coffin, a sequel also directed by Méndez, went into production, to be released on 28 August of the following year. El vampiro has since been considered a seminal moment of Mexican post-war horror cinema. As Doyle Greene put it, ‘El vampiro’s commercial and critical success in Mexico … provided the impetus for the increased production of Mexican horror films throughout the next two decades’ (2005: 8). There are problems with Greene’s claim, or, rather, with his suggestion that Méndez’ film played an industrially

in Capital and popular cinema
Harvey O’Brien

. 32 Linnie Blake, The Wounds of Nations: Horror Cinema, Historical Trauma and National Identity (Manchester and New York: Manchester University Press, 2008 ), p. 14.

in Clive Barker
British pagan landscapes in popular cinema
Tanya Krzywinska

: Penguin Books ). Hetherington , K . ( 2000 ), New Age Travellers ( London : Cassell ). Holland , T . ( 2000 ), Deliver Us from Evil ( London : Abacus ). Hunt , L . ( 2002 ), ‘Necromancy in the UK: witchcraft and the occult in British Horror’ , in Chibnall , S. and Petley , J. (eds), British Horror Cinema (London, Routledge

in Cinematic countrysides
Finding meaning and identity in the rural Australian landscape
Jonathan Rayner

mixes art-cinema style with the materials of horror cinema, the incongruity of (British Victorian) culture in the midst of an antagonistic Australian nature is again the crucial motif. Picnic ’s suggestion of a sympathetic convergence between human sexuality and the landscape’s primordial power can be related backwards to films such as Walkabout (Nicolas Roeg, 1971), which elegises the rape of the

in Cinematic countrysides
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
Rechnological necromancy and E. Elias Merhige’s Shadow of the Vampire
Carol Margaret Davison

Schreck and the violently assaultive, sadistic camera associated with patriarchal power and its victimising gaze. The same camera in horror cinema that, as Carol J. Clover argues, ‘plays repeatedly and overtly on the equation between the plight of the victim and the plight of the viewing audience’ ( 1995 : 201), also fosters collusion between the filmmaker and his or her vampire

in The Gothic and death
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Defining the ecoGothic
Andrew Smith and William Hughes

modern societies have appeared to disavow any necessary connection to nature, the natural world seems to reject humanity as expendable. Humans are cast adrift in an alien, hostile environment, encountering monsters unleashed by the destructive force of a consumerist, solipsistic society. Tyburski argues that these recent films reflect a growing trend in ‘eco-horrorcinema which taps into this growing

in Ecogothic