understandings of female sexuality. 4 More generally,
Barbara Creed has argued that the monstrous-feminine in horrorcinema
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
This book explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves both as gendered individuals and as members of a particular nation-state. Exploring a wide range of stylistically distinctive and generically diverse film texts, its analysis ranges from the body horror of the American 1970s to the avant-garde proclivities of German Reunification horror, from the vengeful supernaturalism of recent Japanese chillers and their American remakes to the post-Thatcherite masculinity horror of the UK and the resurgence of hillbilly horror in the period following 9/11 USA. In each case, it is argued that horror cinema forces us to look again at the wounds inflicted on individuals, families, communities and nations by traumatic events such as genocide and war, terrorist outrage and seismic political change, wounds that are all too often concealed beneath ideologically expedient discourses of national cohesion. Thus proffering a radical critique of the nation-state and the ideologies of identity it promulgates, horror cinema is seen to offer us a disturbing, yet perversely life affirming, means of working through the traumatic legacy of recent times.
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.
Exclusions and Exchanges in the History of European Horror Cinema
British horror cinema is often excluded from critical work dealing with European
horror cinema or, as it is frequently referred to, Eurohorror. This article argues
that such exclusion is unwarranted. From the 1950s onwards there have been many
exchanges between British and continental European-based horror production. These
have involved not just international co-production deals but also creative per-
sonnel moving from country to country. In addition, British horror films have exerted
influence on European horror cinema and vice versa. At the same time, the exclusion
of British horror from the Eurohorror category reveals limitations in that category,
particularly its idealisation of continental European horror production.
This article investigates the emotive potency of horror soundtracks. The account
illuminates the potency of aural elements in horror cinema to engage spectators body
in the light of a philosophical framework of emotion, namely, the embodied appraisal
theories of emotion. The significance of aural elements in horror cinema has been
gaining recognition in film studies. Yet it still receives relatively scarce
attention in the philosophical accounts of film music and cinematic horror, which
tend to underappreciate the power of horror film sound and music in inducing
emotions. My investigation aims both to address the lacuna, and facilitate dialogue
between the two disciplines.
From its earliest days, horror film has turned to examples of the horror genre in fiction, such as the Victorian Gothic, for source material. The horror film has continually responded to cultural pressures and ideological processes that resulted in new, mutated forms of the genre. Adaptation in horror cinema is a useful point of departure for articulating numerous socio-cultural trends. Adaptation for the purposes of survival proves the impetus for many horror movie monsters. This book engages generic and thematic adaptations in horror cinema from a wide range of aesthetic, cultural, political and theoretical perspectives. These diverse approaches further evidence the horror genre's obsession with corporeal transformation and narratological re-articulation. Many horror films such as Thomas Edison's Frankenstein, John S. Robertson's Dr Jekyll and Mr Hyde, David Cronenberg'sVideodrome, Abel Ferrara's Body Snatchers, and Terence Fisher's The Gorgon are discussed in the book. The book sheds welcome light upon some of the more neglected horror films of cinema's first century, and interrogates the myriad alterations and re-envisionings filmmakers must negotiate as they transport tales of terror between very different modes of artistic expression. It extends the volume's examination of adaptation as both an aesthetic process and a thematic preoccupation by revealing the practice of self-reflexivity and addresses the remake as adaptation. The book analyses the visual anarchy of avant-garde works, deploys the psychoanalytic film theory to interpret how science and technology impact societal secularisation, and explores the experimental extremes of adaptation in horror film.
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.
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.
Conclusion: horrorcinema and
In exploring the response of genre films from Japan and Germany,
the United States and the United Kingdom to the traumatic social,
cultural and personal legacies of the Second World War, Vietnam
and 9/11 and to the broader cultural changes engendered by transformations to traditional gender roles since the 1970s, this study
has engaged with a number of debates drawn from horror film scholarship, trauma theory, post-colonial studies and cultural studies.
Specifically though, it has been concerned with the ways in
why horror film narratives remain a
consistently successful source for adaptations, be they generic or
thematic, in horrorcinema, one need consider horror’s relation to
the broad concept of myth . In his seminal study In
Frankenstein’s Shadow: Myth, Monstrosity, and
Nineteenth-Century Writing , Chris Baldick makes use of the
concept of ‘myth’ à la Claude Lévi