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Andrew Spicer

But, as with a generic label, this is a retrospective categorisation that bears little relationship to the actual conditions of the production and reception of these films, to the particular and diverse cycles of films (crime thrillers, detective thrillers, gangster films, gothic romances, semi-documentaries, social problem films, horror) to which they belonged. It is also notoriously the case that the film noir ‘canon

in European film noir
Generic and thematic mutations in horror film
Editors: Richard J. Hand and Jay McRoy

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.

Barry Jordan

his second film and fearing the worst from the national box-office and his fans, he began developing an idea with a much simpler, more restrained, linear narrative. It would seek to avoid the spatio-temporal mise-en-abyme of Abre los ojos and take its generic cues from a rather different source of inspiration, i.e. the classical Hollywood horror films he had seen as an adolescent and student, including British gothic

in Alejandro Amenábar
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Anatomy of a metaphor
John M. Ganim

local habitation. The city of film noir , that is, is gothicised, acquiring the aura of the castle of the eighteenth- and nineteenth-century Gothic novel, with its labyrinthine rooms, its menacing foreign antagonists and its atmosphere of sexual and racial confusion. Where the threat of Gothic romance, however, seems to emanate from a repressed and resurrected past, symbolised by the Middle Ages

in Medieval film
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Julia M. Wright

Wheatley usefully refocuses the problem that “television [is] too ‘literal’” to address the domestic emphasis of televisual realism and argue that the gothic responds to “domestic form,” suggestively echoing the understanding of nineteenth-century sensation fiction as the “mixture of contemporary domestic realism with elements of the Gothic romance.” 5 Wheatley’s emphasis on

in Men with stakes