Search results

You are looking at 1 - 10 of 21 items for :

  • "Secularisation" x
  • Manchester Film Studies x
Clear All
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.

Exploring tensions between the secular and the sacred in Noah, the ‘least biblical biblical movie ever’
Becky Bartlett

the world they live in, such a subject could not possibly be depicted in a film’ (xix). For Noah ’s detractors, arguably the point of contention was not that the subject could not be depicted, but that it should not be depicted in a film in this way . As this chapter will demonstrate, Noah ’s most vocal opponents are politically motivated. Their protestations represent opposition and reaction to the threat of increasing secularisation in Western society, and the diminishing power and authority of religion. The controversy surrounding Noah , therefore, is

in The Bible onscreen in the new millennium
Sarah Wright

case, as Seguin has it, of a Spain derived from National Catholicism but rather, precisely that of the Spain that is emerging from it, that is beginning, very slowly, to shake it off) (Heredero, 1993: 232). Pavlovic concurs, suggesting that ‘the presence of flamenco in Joselito’s opus is therefore not a question of entertainment, but an articulation of the passage from the traditional to secularised society’ [and citing Vattimo, 1992] “not one that has simply left the religious elements behind but one that continues to live them as traces”’ (Pavlovic, 2011: 123

in The child in Spanish cinema
Abstract only
Conversion narratives in the modern
Chris Davies

ended with Ridley Scott’s Gladiator in 2000. Scott’s film, an updated pastiche of previous epics, utilised the structural beats of the conversion narrative but largely excluded its religious core. Seemingly as a response to contemporary events including 9/11 and the ensuing War on Terror, Gladiator ’s successors further revised and secularised the narrative device, replacing discovery of faith with the horrors of imperialism as the catalyst for change. In the case of Roman epics, the principal sub-genre in which conversion narratives occur, this change has been

in The Bible onscreen in the new millennium
Valentina Vitali

country’s politics of secularisation. In 1975 Indira Gandhi, accused of THE HINDI HORROR FILMS OF THE RAMSAY BROTHERS 131 corrupt practices during her 1971 election campaign, was debarred from politics for six years. This event and the formation of a multi-party Janata Front, culminating in a major rally calling on the army and police to disobey illegal orders, led Indira Gandhi to declare the state of emergency. Two years later, for the first time since independence, the Congress, still led by Indira Gandhi, was defeated in the general election. The Janata Party, a

in Capital and popular cinema
Post-war national identity and the spirit of subaltern vengeance in Ringu and The Ring
Linnie Blake

highly selective deployment of Judeo-Christian thought. It is the kind of ‘eye for an eye’ thinking that saw the invasion of Afghanistan and Iraq as vengeance for 9/11 or even saw 9/11 itself as divine punishment for the secularisation of American society.23 And as the tagline from the trailer excised from the film affirms, it is a way of thinking that ensures that ‘everyone will suffer’ and suffer justly if they step out of line. If, then, the family offers no refuge from the horrors of advanced industrial capitalism and its militaristic territorial ambitions, then

in The wounds of nations
Abstract only
Nigel Mather

make contact with each other through a shared cultural greeting, at a time when communication appears to have broken down between all the other characters. In The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess , Peter Brooks defines melodrama as a ‘form for secularised times’, and suggests that ‘melodrama may be born of the very anxiety created by the guilt experienced when the

in Tears of laughter
Rowland Wymer

so to this day, had its origins in the twelfth-century desire to evoke divine light and presence.’ 22 The Romantic secularisation of religious impulses at the end of the eighteenth-century did not involve any change of chromatic symbolism in this respect and the enormously influential novel by Novalis, Heinrich von Ofterdingen (1802), centred on a medieval troubador’s quest for a small blue flower seen in a dream. Established

in Derek Jarman
Au hasard Balthazar and Mouchette
Keith Reader

schoolmaster’s acquisition, development and eventual loss of the land he farms – implicitly refers to the large-scale rationalisation of agriculture in the France of the time and the upheavals it caused, while the schoolmaster himself, proud above all of his self-education through reading, clearly represents the French tradition of the école laïque which since the secularisation of state education in 1881 has traditionally opposed

in Robert Bresson
Abstract only
Wickham Clayton

religious faithful not descended from the 1980s Moral Majority – according to Melanie J. Wright, ‘whilst Gibson belongs to a traditionalist Catholic church, the film found popularity with mainstream Catholics, Protestants, and other Christians’ ( 2008 : 168). Furthermore, it does indicate the monetary power held by those adhering to a faith-based worldview following a period of perceived social secularisation. And even this cultural moment, this film particularly, still has political resonances. According to entertainment journalist James Ulmer, Steve Bannon, the far

in The Bible onscreen in the new millennium