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REC and the contemporary horror film
Agnieszka Soltysik Monnet

), the second is related to the importance accorded to special effects and make-up art in horror cinema. What I propose to do in this chapter is to examine a recent horror film, Jaume Balagueró’s and Paco Plaza’s REC ( 2007 ), in order to see how these core genre features mentioned above work in tandem with other more recent developments, including

in Monstrous media/spectral subjects
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David Annwn Jones

period-specific categorisation disputed by David Pirie in A New Heritage of Horror ( 2008 ) and Jonathan Rigby in English Gothic: Classic Horror Cinema 1897–2015 ( 2015 ) whose definitions of ‘Gothic cinema’ take in a considerable number of Hammer Horror titles from thirty years later. Georges Méliès’s Manoir du Diable / The Haunted Castle (1896) is sometimes cited as the earliest

in Gothic effigy
Genre and the shock of over-stimulation
Andrew Asibong

intellectual discussion was devoted to the horror genre in international cinema. Film journals emerging in the 1950s and 1960s such as Midi-Minuit, Fantastique and L’Écran fantastique championed both American and British examples of intelligent horror cinema, enthusiastically locating the genre within the (somewhat more respectable) category of le fantastique , a category with deep roots in nineteenth-century French literary

in François Ozon
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Tom Whittaker

, collective cheering …, a boiling pot of emotional communication with the screen.’ 14 The Moncloa Pacts were a series of agreements designed to curb the high unemployment rate and the ongoing recession. 15 For Spanish horror cinema that can be considered paracinema see Andy Willis ( 2003 : 71

in The Spanish quinqui film
National identity and the spirit of subaltern vengeance in Nakata Hideo’s Ringu and Gore Verbinski’s The Ring
Linnie Blake

of horror cinema, specifically those Japanese horror films most recently subject to adaptation in the United States. Over the past fifteen years, as the United States has sought to increase its international influence over the strategically significant nations of Afghanistan, Iraq, Iran and North Korea, it is notable that there has been an exponential increase in the availability, and hence consumption, of Japanese films

in Monstrous adaptations
Into the frame of Clive Barker’s The Midnight Meat Train and Dread comic and film adaptations
Bernard Perron

because, ‘[Horror] Cinema so desperately needs stories.’ 10 In a time where the horror film genre lacks inventiveness to the point of remaking not-so-old classics (like the slashers of the 1980s), Clive Barker's short stories become remarkable options because of their narrative arc, their imagery, and their use of confined and moving spaces ( The Midnight Meat Train

in Clive Barker
Johan Höglund

, horror, science-fiction and war, melodrama and comedy, and move in and out of the Gothic mode. The concept of Nordic in Nordic Gothic new media is arguably more problematic than in more conventional media. What this book refers to as the Nordic Gothic novel is typically written in one of the Nordic languages and routinely placed within the geographical remit of the North. Similarly, while some Nordic directors of Gothic and horror cinema operate outside the Nordic region and make films in English, most Nordic Gothic films are linked to the Nordic

in Nordic Gothic
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The Frankenstein Complex: when the text is more than a text
Dennis R. Cutchins and Dennis R. Perry

German Expressionist mise-en-scène as well as on Gothic imagery to create an almost surreal atmosphere. These choices gave the story a look and feel that instantly transformed Shelley’s philosophical and grotesque tragedy into a Gothic horror film – one that has not only been central to the development of horror cinema, but that has been more influential on most subsequent film adaptations than Shelley’s novel. Any understanding of Frankenstein in the twenty-first century will be delightfully riddled by such complex intertextual networks, and

in Adapting Frankenstein
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Sian Barber

Spicer’s work on masculinity (Typical Men), James Chapman on history (Past and Present), Leon Hunt on low-brow (British Low Culture), Peter Hutchings on horror cinema (Hammer and Beyond), John Hill on the British new wave (Sex, Class and Realism), Claire Monk and Amy Sargeant on heritage (British Historical Cinema), Steve Chibnall and Robert Murphy on crime cinema (British Crime Cinema) and Andrew Higson on national identity (Film England).13 Also useful could be Charles Barr’s account of Ealing Studios (Ealing Studios), Sue Harper writing on women in the film industry

in Using film as a source
Female werewolves in Werewolf: The Apocalypse
Jay Cate

of the narrative’s protagonist, Evan, which references tropes of twentieth-century horror cinema, particularly films including male werewolves. Evan wakes up at night in a strange place, with torn clothes and a feeling of dread. ‘Not again …’ he states, before offering more information: ‘The dreams … the wolves … and these scratches – what’s going on?’ (ii) If this scenario is not familiar enough to

in She-wolf