Description : Horror is one of the most enduring and controversial of all cinematic genres. Horror films range from the subtle and the poetic to the graphic and the gory but what links them all is their ability to frighten, disturb, shock, provoke, delight, irritate, amuse, and bemuse audiences. Horror's capacity to serve as an outlet to capture the changing patterns of our fears and anxieties has ensured not only its notoriety but also its long-term survival and its international popularity. Above all, however, it is the audience's continual desire to experience new frights and evermore-horrifying sights that continue to make films like The Exorcist, A Nightmare on Elm Street, Halloween, Night of the Living Dead, The Texas Chainsaw Massacre, Psycho, Ringu, and The Shining captivate viewers. The A to Z of Horror Cinema traces the development of horror cinema from the beginning of the 20th century to the present day. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries. Entries cover all the major movie villains, including Frankenstein and his monster, the vampire, the werewolf, the mummy, the zombie, the ghost, and the serial killer; the film directors, producers, writers, actors, cinematographers, make-up artists, special effects technicians, and composers who have helped to shape horror history; significant production companies and the major films that have come to stand as milestones in the development of the horror genre; and the different national traditions in horror cinema as well as horror's most popular themes, formats, conventions, and cycles.
Description : This first full-length scholarly study about animal horror cinema defines the popular subgenre and describes its origin and history in the West. The chapters explore a variety of animal horror films from a number of different perspectives. This is an indispensable study for students and scholars of cinema, horror and animal studies.
Description : The horror film is now one of the most popular and talked about film genres and yet, outside of the Hammer studio, very little has been written about British horror. Going beyond Hammer, the book investigates a wealth of horror filmmaking in Britain from early chillers like The Ghoul and Dark Eyes of London to acknowledged classics such as Peeping Tom and The Wicker Man.
Description : Essays focusing on European horror cinema from 1945 to the present, features new contributions by international scholars exploring British, French, Spanish, Italian, German and Northern European and Eastern European horror cinema.
Description : Combining industrial research and primary interview material with detailed textual analysis, Contemporary British Horror Cinema looks beyond the dominant paradigms which have explained away British horror in the past, and sheds light on one of the most dynamic and distinctive "e; yet scarcely talked about "e; areas of contemporary British film production. Considering high-profile theatrical releases, including The Descent, Shaun of the Dead and The Woman in Black, as well as more obscure films such as The Devil's Chair, Resurrecting the Street Walker and Cherry Tree Lane, Contemporary British Horror Cinema provides a thorough examination of British horror film production in the twenty-first century.
Description : Horror cinema flourishes in times of ideological crisis and national trauma--the Great Depression, the Cold War, the Vietnam era, post-9/11--and this critical text argues that a succession of filmmakers working in horror--from James Whale to Jen and Sylvia Soska--have used the genre, and the shock value it affords, to challenge the status quo during these times. Spanning the decades from the 1930s onward it examines the work of producers and directors as varied as George A. Romero, Pete Walker, Michael Reeves, Herman Cohen, Wes Craven and Brian Yuzna and the ways in which films like Frankenstein (1931), Cat People (1942), The Woman (2011) and American Mary (2012) can be considered "subversive."
Description : As the first detailed English-language book on the subject, Korean Horror Cinema introduces the cultural specificity of the genre to an international audience, from the iconic monsters of gothic horror, such as the wonhon (vengeful female ghost) and the gumiho (shapeshifting fox), to the avenging killers of Oldboy and Death Bell. Beginning in the 1960s with The Housemaid, it traces a path through the history of Korean horror, offering new interpretations of classic films, demarcating the shifting patterns of production and consumption across the decades, and introducing readers to films rarely seen and discussed outside of Korea. It explores the importance of folklore and myth on horror film narratives, the impact of political and social change upon the genre, and accounts for the transnational triumph of some of Korea's contemporary horror films. While covering some of the most successful recent films such as Thirst, A Tale of Two Sisters, and Phone, the collection also explores the obscure, the arcane and the little-known outside Korea, including detailed analyses of The Devil's Stairway, Woman's Wail and The Fox With Nine Tails. Its exploration and definition of the canon makes it an engaging and essential read for students and scholars in horror film studies and Korean Studies alike.
Description : The 1940s is a lost decade in horror cinema, undervalued and written out of most horror scholarship. This book deconstructs persistent scholarly discourse by re-evaluating the historical, political, economic, and cultural factors of 1940s horror cinema to recover a decade of horror.
Description : Using the four tissue types (connective, epithelial, nervous, and muscular), Dudenhoeffer expands and complicates the subgenre of "body horror." Changing the emphasis from the contents of the film to the "organicity" of its visual and affective registers, he addresses the application of psychoanalysis, phenomenology, object-ontology, and cyborgism.
Description : Over the last two decades, Japanese filmmakers have produced some of the most important and innovative works of cinematic horror. At once visually arresting, philosophically complex, and politically charged, films by directors like Tsukamoto Shinya (Tetsuo: The Iron Man  and Tetsuo II: Body Hammer ), Sato Hisayasu (Muscle  and Naked Blood ) Kurosawa Kiyoshi (Cure , Seance , and Kairo ), Nakata Hideo (Ringu , Ringu II , and Dark Water ), and Miike Takashi (Audition  and Ichi the Killer ) continually revisit and redefine the horror genre in both its Japanese and global contexts. In the process, these and other directors of contemporary Japanese horror film consistently contribute exciting and important new visions, from postmodern reworkings of traditional avenging spirit narratives to groundbreaking works of cinematic terror that position depictions of radical or `monstrous? alterity/hybridity as metaphors for larger socio-political concerns, including shifting gender roles, reconsiderations of the importance of the extended family as a social institution, and reconceptualisations of the very notion of cultural and national boundaries.ContentsList of Illustrations Acknowledgements Introduction: `New Waves?, Old Terrors, and Emerging Fears Guinea Pigs and Entrails: Cultural Transformations and Body Horror in Japanese Torture Film Cultural Transformation, Corporeal Prohibitions and Body Horror in Sato Hisayasu's Naked Blood and Muscle Ghosts of the Present, Spectres of the Past: The kaidan and the Haunted Family in the Cinema of Nakata Hideoand Shimizu Takashi A Murder of Doves: Youth Violence and the Rites of Passing in Contemporary Japanese Horror Cinema Spiraling into Apocalypse: Sono Shion's Suicide Circle, Higuchinsky's Uzumaki and Kurosawa Kiyoshi's Pulse New Terrors, Emerging Trends, and the Future of Japanese Horror CinemaWorks Cited and Consulted Index