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Horror, Cinephilia and Barbara Steele
Ian Olney

Regarded by fans and critics alike as the Queen of Horror, Barbara Steele stands as one of the few bona fide cult icons of the genre, whose ability to project an uncanny blend of deathliness and eroticism imbues her characters with a kind of necrophiliac appeal. Horror film scholars have tended to read Steele‘s films in feminist terms, as texts that play to our fascination with the monstrous-feminine. This article approaches them from a different standpoint – that of cinephilia studies. Steele‘s cult horror films are at their most basic level horror movies about cinephilia, presenting her as the very embodiment of the ghostly medium that cinephiles cherish. In so doing, they convert Steele into a necrophiliac fetish-object, an intoxicating fusion of death and desire. Considering Steele‘s work from this perspective reveals the fluidity of the boundary between horror and cinephilia, demonstrating that horror has something important to teach us about cinephilia and cinephilia has something important to teach us about horror.

Film Studies
Abstract only
Guy Austin

, rather than a.longside it. This state of affairs has recently changed, however. Since around 2000, a new generation of fantasy film-makers has sprung up in France. Their influences include the Italian horror films of Dario Argento but also the pages of French BD. The result has been a number of domestic BD adaptations, including the fantasy Western Blueberry ( Renegade , Kounen, 2004). The horror film has also prospered in

in Contemporary French cinema
Exclusions and exchanges in the history of European horror
Peter Hutchings

particular, both British and Italian horror cycles. 2 However, from another perspective, one that is expressed very clearly by 100 European Horror Films , British horror is a much less welcome presence in the world of European horror, and indeed its exclusion helps to underpin in a fundamental way a sense of what European horror actually is. In the face of this exclusion, this chapter seeks to identify and characterise the relationship between British horror cinema and European horror cinema, and

in Hammer and beyond
Abstract only
Peter Hutchings

principal subject matter cannibalism – a theme usually associated with American and Italian horror of the 1970s – and working to locate this within a recognisably class-ridden British social reality, often with extremely disturbing results ( Figure 7.1 ). More recently, two films in the genre have achieved a degree of critical and commercial success. The Company of Wolves (Neil Jordan, 1984) draws on a variety of sources (fairy tales, Breughel, Arthur Rackham, surrealism etc.) in its stylised

in Hammer and beyond
An introduction
Richard J. Hand and Jay McRoy

Blood and Black Lace , 1964) – revealing how each work revisits the image of the ‘martyrised’ female body in Italian horror cinema. In her chapter, ‘“In the Church of the Poison Mind”: Adapting the Metaphor of Psychopathology to Look Back at the Mad, Monstrous 80s’, Ruth Goldberg explains how Mary Harron’s American Psycho (2000) and Richard Kelly’s Donnie Darko (2001) function as contemporary

in Monstrous adaptations
American gothic to globalgothic
James Campbell

strategies, Japanese Occidentalism resembles Western Orientalism in the way it conflates and exoticises cultures (Tatsumi, 2006 : 4). Consider the game’s ‘Balkan Church’, an incongruous landmark with no obvious connection to the Balkans, haunted by the local cultist Dahlia Gillespie, a character resembling a European gypsy stereotype, named after one of the ex-wives of the Italian horror director Dario Argento, whose work is

in Globalgothic
Peter Hutchings

James Bernard. 7 Subotsky has claimed that the identity of the murderer in The Psychopath was changed during post-production in order to make the mystery harder to solve. This might explain why it is that, at a certain point, the narrative simply ceases to make any sense. 8 For an interesting contrast, see a later Italian horror film, Profondo Rosso (Dario Argento, 1975), which contains some Psychopath -like elements such as

in Hammer and beyond
Barry Jordan

, especially the Cine Covadonga. The latter specialised in American and European double-bills of horror features, such as big screen versions of The Exorcist , The Evil Dead (Sam Raimi, 1980) and possibly films by Dario Argento such as Phenomena (1985), though Amenábar’s memory is particularly hazy regarding his familiarity with Italian horror (Interview). For Amenábar, even at this stage, the attraction

in Alejandro Amenábar
Generic hybridity and gender crisis in British horror of the new millennium
Linnie Blake

at the junction between cultural policy and mass-cultural articulation of the traumas wrought to models of manhood by the Thatcher years, the horror film was recognised from the early 1980s onwards as proffering a dangerous challenge to establishment ideology; leading initially to the Video Nasty controversy that raged across the British media in the early 1980s and thence to the infamous Video Recordings Act of 1985. Seeking to ‘protect’ British video audiences from a swathe of predominantly American and Italian horror imports that were said to threaten the moral

in The wounds of nations
Will Higbee

read as an intertextual reference to The Silence of the Lambs , 26 the bloody and theatrical staging of the murder also brings to mind the films of cult Italian horror director Dario Argento (of whom Kassovitz was an avid fan during his teenage years). Moreover, as these references to both the cinéma du look and gothic horror indicate, in Les Rivières pourpres Kassovitz moves

in Mathieu Kassovitz