Search results

Valentina Vitali

4 The Hindi horror films of the Ramsay brothers In Shaitani ilaaka / Satan’s Circle (Kiran Ramsay, 1990) we are presented with the murder of a man at the hands of a shape-shifting female. The barely dressed woman walks into a room where a man is lying on a bed. The camera, initially positioned behind and at a short distance from the woman, slowly tracks in to take up her point of view. She hypnotises him, has sex with him and finally kills him. We witness these actions as if through the woman’s eyes. This sequence is typical of Hindi horror cinema, which perhaps

in Capital and popular cinema
The Awakening (2011) and Development Practices in the British Film Industry
Alison Peirse

This article reveals how screenwriter Stephen Volk‘s idea for a sequel to The Innocents (1961, Jack Clayton) became, over the course of fifteen years, the British horror film The Awakening (2011, Nick Murphy). It examines practitioner interviews to reflect on creative labour in the British film industry, while also reorientating the analysis of British horror film to the practices of pre-production, specifically development. The research reveals that female protagonist Florence Cathcart was a major problem for the project and demonstrates how the Florence character changed throughout the development process. Repeatedly rewritten and ultimately restrained by successive male personnel, her character reveals persistent, problematic perceptions of gender in British horror filmmaking.

Film Studies
Steven Sheil’s Mum & Dad
Johannes Schlegel

Introduction: Transgressive family horror Horror film, like all Gothic narratives, 1 is predominantly concerned with representations and negotiations of the family, its values and ideologies. In an illuminating generalization, the film scholar Tony Williams even suggests that ‘all horror films, in one way or the other, are family horror films

in Gothic kinship
Abstract only

.14.0002 Quantifying National Cinema A Case Study of the Irish Film Board 1993–2013 Flynn Roddy Tracy Tony May 2016 14 14 1 1 32 32 53 53 10.7227/FS.14.0003 How to Write a Horror Film The Awakening (2011) and Development Practices in the British Film Industry Peirse Alison May 2016 14 14 1 1 54 54 74 74 10

Abstract only

of the Repressed The Korean Horror Films of Ahn Byeong-ki Conrich Ian 05 2010 12 12 1 1 106 106 115 115 GS.12.1.8.xml Reviews Powell Anna Miller Kathleen Monnet Agnieszka Soltysik Rigby Mair Hogle

Abstract only

Horror Films (1956–73) Jackson Chuck 24 08 2020 11 2019 21 21 1 1 38 38 52 52 10.7227/FS.21.0004 Screen-Camera-Cars Self-Driving Cars in Cinematic Imaginaries Campanini Sonia 24 08 2020 11 2019 21 21 1 1 53 53 64 64 10.7227/FS.21.0005 Biker Boys, Muscle Cars, Hollywood Men Fetish Filmmaking and the Revision of Masculinity in Scorpio Rising and Drive Sheehan Rebecca 24 08 2020 11 2019 21 21 1 1 65 65 82 82 10.7227/FS.21.0006 Riding in Cars with Girls Driving Desire on Television Shacklock Zoë 24 08 2020 11 2019 21 21 1 1 83 83 96 96 10.7227/FS

Abstract only
Editor: Glennis Byron

The late twentieth century saw growing number of articles and books appearing on new national gothic; however, the wider context for this had not really been addressed. This collection of essays explores an emerging globalgothic useful for all students and academics interested in the gothic, in international literature, cinema, and cyberspace, presenting examples of globalgothic in the 21st-century forms. It analyses a global dance practice first performed in Japan, Ankoku butoh, and surveys the ways in which Indigenous cultures have been appropriated for gothic screen fictions. To do this, it looks at the New Zealand television series on Maori mythologies, Mataku. The unlocated 'vagabonds' of Michel Faber's "The Fahrenheit Twins" are doubles (twins) of a gothic trajectory as well as globalgothic figures of environmental change. The book considers the degree to which the online vampire communities reveal cultural homogenisation and the imposition of Western forms. Global culture has created a signature phantasmagoric spatial experience which is uncanny. Funny Games U.S. (2008) reproduces this process on the material level of production, distribution and reception. The difference between the supposedly 'primitive' local associated with China and a progressive global city associated with Hong Kong is brought out through an analysis of cannibal culture. In contemporary Thai horror films, the figure of horror produced is neither local nor global but simultaneously both. The book also traces the development, rise and decline of American gothic, and looks at one of the central gothic figures of the twenty-first century: the zombie.

Abstract only
Found Footage Cinema and the Horror of the Real
Neil McRobert

This article examines the post-millennial popularity of the found footage movie, in particular its engagement with the representational codes of non-fiction media. Whilst the majority of critical writings on found footage identify the 11 September attacks on the World Trade Centre as a key visual referent, they too often dwell on the literal re-enactment of the event. This article instead suggests that these films evoke fear by mimicking the aesthetic and formal properties of both mainstream news coverage and amateur recording. As such they create both ontological and epistemological confusion as to the reality of the events depicted. Rather than merely replicating the imagery of terror/ism, these films achieve their terrifying effects by mimicking the audiences media spectatorship of such crisis.

Gothic Studies
Abstract only
Re-Reading European Trash Cinema (1988–98)
Antonio Lázaro-Reboll

Discussion of the horror film fanzine culture of the 1980s and early 1990s has been dominated by an emphasis on questions around the politics of taste, considerations of subcultural capital and cultism in fan writing, and processes of cultural distinction and the circulation of forms of capital. Sconce‘s concept of paracinema has come to shape the conceptual approach to fanzines. The aim of this article is to refocus attention on other areas of fanzine production, providing a more nuanced and richer historicisation of these publications and the ways they contributed to the circulation, reception and consumption of European horror film. Focusing on the fanzine European Trash Cinema (1988–98) I propose a return to the actual cultural object – the printed zine – examining the networks of producers converging around, and writing about, Eurohorror films and related European trash cinematic forms, as well as the contents within the publication itself.

Film Studies
Russ Hunter

European horror films have often been characterised by a tendency towards co-production arrangements. Recent developments within regional European funding bodies and initiatives have led to a proliferation of films that combine traditional co-production agreements with the use of both regional and intra-regional funding sources. This article examines the extent to which the financial structuring of Creep(Christopher Smith, 2004), Salvage (Lawrence Gough), and Trollhunter (André Øvredal, 2010) informed the trajectory of their production dynamics, impacting upon their final form. Sometimes, such European horror films are part of complex co-production deals with multiple partners or are derived from one-off funding project. But they can also utilise funding schemes that are distinctly local.

Film Studies