... shadow over the British horror cinema. Christie John Reginald Halliday Crippen Hawley Harvey Dracula novel exploitation films Hitchcock Alfred Jack the Ripper Stoker Bram Bloodthirsty Butchers The 1970 BBFC Frenzy 1972 Hammer Films Milligan Andy Peeping Tom 1960 Pornography Powell Michael...

... Varma Ram Gopal viewership of cinema popular culture bhakti films 1970s American cinema pornographic film Williams Linda woman’s melodrama democracy Telugu literature media Arundhati women’s films goddess films sati films feminist film theory horror cinema devotional cinema gender...

... A 2012 werewolf cultural history cultural studies film studies genre horror cinema horror studies monster studies popular culture popular monsters As explored in the introduction to this book, studies of the cinematic werewolf have often associated the creature with the concept of the beast...

...This introductory chapter provides an overview of horror cinema. Since its inception, horror has been one of the most universally derided and dismissed of film genres. Yet at the same time it has consistently been one of the most enduring and commercially popular. While there have been periods...

...This chapter addresses some concerns of British horror cinema with specific reference to an extraordinary proliferation of what Noël Carroll would term ‘fusion monsters’, represented in various films. In each of these highly self-reflexive films a new kind of ‘fusion hero’ can also be seen...

...This book explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves both as gendered individuals...

... Tartan Asia Extreme transnational cinema Evil Dead The art horror cult art Hawkins Joan The Criterion Collection Lars von Trier extremity film festival Antichrist provocateur horror cinema narrative image Antichrist’s prologue contains both hard-core sexual penetration...

... territory of the objectification of female bodies in horror cinema, Lázaro-Reboll turns his attention to the male body and the camp aesthetics of Miguel Madrid’s (aka Michael Skaife) El asesino de muñecas/Killing of the Dolls (1975) and, in particular, to the body of David Rocha as spectacle. apertura...

...This chapter cites Peter Hutchings, who defines post-1972 American horror cinema as marking the advent of the horror-auteur director, believing horror to be the only genre that acquired its own 'customised movie-brats'. It talks about how Hutchings distinguishes the rising collective of horror...

... in the genre's history. In fact, it has been argued that the first half of the decade represented one of the most significant lulls that US horror cinema has been witness to, with the volume of film production, box office takings, and overall audience interest hitting an all-time low. Of course, such lulls can...

...This introductory chapter provides an overview of Dead of Night, Ealing Studios' extraordinary post-war treasury of the supernatural. Since its release, it has become a classic of horror cinema and is regularly cited by writers and researchers as a singularly important title...

...This introductory chapter provides an overview of The Mummy (1932). While the setting and concepts of The Mummy were relatively new to horror cinema as it existed in 1932, the film's creative team nonetheless had plenty of sources from which to take inspiration...

... to say about trauma cinema as it does horror cinema. Indeed, Nicolas Roeg's film brings the two precisely into relation with one another; in doing so, the film makes a commentary on the cultural traumas of the late twentieth century, as well as the ways in which these function more particularly...

... heterosexuality race women colonized body interiority interrogating gaze lesbian relationships love United States colonial philosophical project zoological oppression animality expectations of monstrosity werewolf lynching Blackness horror cinema decolonialization sexuality werewolves...

... literature and fairy tales influenced this richly metatextual film, plus the impact of historical trends in horror cinema. How Robert De Niro’s research into antagonist Max Cady created a character who is closer to cinematic bogeymen rather than the more earthbound villains expected in thrillers. Film theory...

...When Candyman was released in 1992, Roger Ebert gave it his thumbs up, remarking that the film was “scaring him with ideas and gore, rather than just gore.” Indeed, Candyman is almost unique in 1990s horror cinema in that it tackles its sociopolitical themes head...

... collaboration between America's bestselling author of horror tales and one of the masters of modern American horror cinema. Long considered too mainstream for the director of Dawn of the Dead (1978), too comic for the author that gave audiences the film versions of Carrie (1976...