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Recursive and self-reflexive patterns in David Cronenberg’s Videodrome and eXistenZ
Steffen Hantke

When the Canadian Film Development Corporation, and Universal Pictures in the US, released Videodrome in 1982, its director David Cronenberg was little known outside a hardcore fan community. Apart from a few student film productions, Cronenberg had made Shivers (1975) and Rabid (1977), which had advanced him from film school projects to professional filmmaking

in Monstrous adaptations
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.

An introduction
Richard J. Hand and Jay McRoy

Rose’s Candyman (1992). The four chapters that constitute the book’s second section further extend the volume’s examination of adaptation as both an aesthetic process and a thematic preoccupation. Steffen Hantke, for instance, reveals the practice of self-reflexivity in David Cronenberg’s Videodrome (1983) and eXistenZ ( 1999 ), whilst Andy W. Smith dissects The

in Monstrous adaptations
Harvey O’Brien

that Lord of Illusions should have produced something more joyously fluid and subversive like F for Fake , or even Videodrome ( 1983 ). But Lord of Illusions doesn't work this way. It seems to want to, on some level, but it is a nervy film, trying almost too hard to subvert itself at every turn to the point where it stops being able to function, folding back on itself so

in Clive Barker
Open Access (free)
Jeffrey Pence

presented in David Cronenberg’s Videodrome (1982), Brett Leonard’s Lawnmower Man (1992), James Cameron’s The Terminator (1984) and Terminator 2: Judgement Day (1991) and Oliver Stone’s Natural Born Killers (1994). From Elia Kazan’s A Face in the Crowd (1957), through Sidney Lumet’s Network (1976), to Gus Van Sant’s To Die For (1995), film has constructed a vision

in Memory and popular film
Abstract only
Introducing Guillermo del Toro
Deborah Shaw

traditions, and argues that it borrows from genres as diverse as wrestling films, melodramas, horror movies, and B movies. Kantaris (1998) has also noted the vast array of cinematic texts that the film references, citing Murnau’s Nosferatu (1922), Hitchcock’s Rear Window (1954), and Cronenberg’s Videodrome (1983) and The Fly (1986), among others. Del Toro himself mentions that Aurora was modelled on Ana (Ana Torrent), the young girl in the classic Spanish art film El espíritu de la colmena (The Spirit of Beehive) (Erice, 1973), and also cites James Whale’s films as an

in The three amigos
Barry Jordan

, 1980), Videodrome (David Cronenberg, 1982), Special Effects (Larry Cohen, 1984), Henry , Portrait of a Serial Killer (John McNaughton, 1986/1990), Video Violence (Gary P. Cohen, 1987), Man Bites Dog ( C’est arrivé près de chez vous , Rémy Belvaux, 1992), Mute Witness (Anthony Waller, 1994), The Brave , (Johnny Depp, 1997), 8mm (Joel Schumacher, 1999), The Blair Witch Project (Daniel

in Alejandro Amenábar