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Peter Hutchings

understandings of female sexuality. 4 More generally, Barbara Creed has argued that the monstrous-feminine in horror cinema invokes notions of the biological – not least menstrual and other processes associated with female reproductivity – in a manner that invites both fascination and disgust. 5 Approaches of this kind align broadly with an ideological-analytical method that is prevalent in horror criticism. Put

in She-wolf
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A cultural history of female werewolves
Editor: Hannah Priest

This book explores the cultural history of the female werewolf, from her first appearance in medieval literature to recent incarnations in film, television and popular literature. It focuses on folkloric records of the island of Saaremaa, Estonia, a territory in which, unusually, there are more folktales of female werewolves than male. The book also explores tropes and strategies of feminisation evident in Werewolf: The Apocalypse to reveal an almost unique disavowal of the masculine werewolf in favour of traditions of presenting the female werewolf. The examination of Honoré Beaugrand's 'The Werewolves' offers fruitful discussion of the female werewolf's integration into colonial discourse and narrative. In the nineteenth century, at the fin de siècle, female authors began to produce fiction about the female werewolf. Two of the most interesting examples of this, which have been curiously neglected by critics, are Clemence Housman's novella The Werewolf and Rosamund Marriott Watson's poem 'A Ballad of the Were-wolf', written under the pseudonym Graham R. Tomson and published in 1891. Then, the book examines twenty-first-century young adult paranormal romance texts, considering the ways in which such texts associate lycanthropy with contemporary idealisations and constructions of the post-adolescent female. It explores presentations of body-centred violence in film, drawing parallels between female werewolves and other violent females in horror cinema. Finally, the book also examines cinematic representations of the femme animale with an exploration of how this conceptualisation of the feminine might inform a reading of Ginger Snaps.

The Korean Horror Films of Ahn Byeong-ki
Ian Conrich

The new wave of Korean cinema has presented a series of distinct genre productions, which are influenced by contemporary Japanese horror cinema and traditions of the Gothic. Ahn Byeong-ki is one of Korea‘s most notable horror film directors, having made four Gothic horrors between 2000 and 2006. These transnational horrors, tales of possession and avenging forces, have repeatedly been drawn to issues of modernity, loneliness, identity, gender, and suicide. Focusing on the figure of the ghostly woman, and the horrors of modern city life in Korea, this essay considers the style of filmmaking employed by Ahn Byeong-ki in depicting, in particular, the Gothic revelation.

Gothic Studies
Chris Louttit

Since 2005 Tim Burton’s imagination has frequently turned to Victorian-related subjects. Focusing primarily on Corpse Bride (2005), Sweeney Todd (2007) and Alice in Wonderland (2010), this article argues that Burton’s response to (neo-) Victorian culture is a distinctly Gothic one. Unlike other more literary and canonical types of neo-Victorianism it engages with the popular and strongly Gothicised conceptions of the Victorian that emerged through the horror cinema of the twentieth century. It is also Gothic in the way that it self-consciously blends the Victorian with other cultural trends. As a result, rather than offering a strongly theorised, academic view of the Victorians, Burton remediates them for his own aesthetic purposes.

Gothic Studies
Michael Goodrum and Philip Smith

key feature of mid-twentieth century horror. Horror cinema One company to capitalise on the horror craze, in a large part through high-profile girl victims, was Hammer Horror. The British studio had first launched in the 1930s and turned to horror from the mid-1950s onward. They became one of the premier creators of low-budget, but widely consumed, horror films. While the Gothic, unlike other forms of horror, was otherwise marginalized and mined for parody, Hammer Horror kept the sub-genre alive with violent Gothic titles such as The Curse of Frankenstein (1957

in Printing terror
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Encountering the monstrous in American cinema
Susan J. Tyburski

questions: How have traditional Gothic tropes been transformed to explore ecological fears in recent apocalyptic films? And what can we learn about our relationship with the natural world by exploring these modern apocalyptic narratives? The recent crop of apocalyptic films reflects a growing trend in ‘eco-horrorcinema: the transformation of our natural home into a destructive

in Ecogothic
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A history of female werewolves
Hannah Priest

Chapter 10 explores presentations of body-centred violence in film, drawing parallels between female werewolves and other violent females in horror cinema, and Barbara Creed in Chapter 11 examines cinematic representations of the femme animale with an exploration of how this conceptualisation of the feminine might inform a reading of Ginger Snaps. Other chapters in the

in She-wolf
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Fred Botting

terror, most evident in contemporary culture in the screams that attend a showing of a horror movie. The development of computer games owes debts to horror cinema and incorporates some of its features and, even, some images, in game design. Silent Hill (1999), for example, is a horror game which involves ‘tense wanderings in dark environments’ that are ‘interrupted with shocks, sudden appearances of

in Limits of horror

Mary Shelley’s Frankenstein is one of the most popular novels in western literature. It has been adapted and re-assembled in countless forms, from Hammer Horror films to young-adult books and bandes dessinées. Beginning with the idea of the ‘Frankenstein Complex’, this edited collection provides a series of creative readings that explore the elaborate intertextual networks that make up the novel’s remarkable afterlife. It broadens the scope of research on Frankenstein while deepening our understanding of a text that, 200 years after its original publication, continues to intrigue and terrify us in new and unexpected ways.

Hammer Film Studios’ reinvention of horror cinema
Morgan C. O’Brien

changed the face of horror cinema. With a production budget under £65,000 ($200,000), The Curse of Frankenstein (hereafter, Curse ) recouped its costs many times over and was an international hit (Hearn). Curse announced Hammer’s arrival as a cinematic player on the world stage, spawning six pseudo-sequels and launching a decade-long vogue for Gothic horror films. 1 Notably, Hammer’s film pre-dates the film that gave birth to the Italian Gothic movement, Mario Bava’s La Maschera del Demonio (1960, Black Sunday in the UK), and also American International

in Adapting Frankenstein