The Horror Film by Stephen Prince

By Stephen Prince

In this quantity, Stephen Prince has accrued essays reviewing the background of the horror movie and the mental purposes for its chronic allure, in addition to discussions of the developmental responses of younger grownup audience and kids to the style. The e-book specializes in contemporary postmodern examples akin to The Blair Witch undertaking. In a bold circulation, the amount additionally examines Holocaust motion pictures relating to horror.

Part One positive factors essays at the silent and classical Hollywood eras. half covers the postWorld conflict II period and discusses the ancient, aesthetic, and mental features of up to date horror movies. unlike horror in the course of the classical Hollywood interval, modern horror positive aspects extra picture and lengthy visualizations of worrying and bad imagery, in addition to different distinguishing features. Princes advent presents an summary of the style, contextualizing the readings that follow.

Stephen Prince is professor of communications at Virginia Tech. He has written many movie books, together with Classical movie Violence: Designing and Regulating Brutality in Hollywood Cinema, 19301968, and has edited Screening Violence, additionally in the intensity of box Series.

Show description

Read Online or Download The Horror Film PDF

Best film & television books

Heartland TV: Prime Time Television and the Struggle for U.S. Identity

Winner of the 2009 Society for Cinema and Media reviews Katherine Singer Kovacs ebook AwardThe Midwest of well known mind's eye is a "Heartland" characterised by way of conventional cultural values and mass marketplace inclinations. no matter if forged definitely —; as actual, pastoral, populist, hardworking, and all-American—or negatively—as backward, narrow–minded, unsophisticated, conservative, and out-of-touch—the delusion of the Heartland endures.

TV FAQ: Uncommon Answers to Common Questions About TV

Unusual solutions to universal questions on TV'Is television dumbing us down? ', 'what is a precinct drama? ', 'why does all television glance a similar? ', 'has television replaced politics? ', 'who regulates TV', 'is television comprehensive? ' audience and scholars of television have a fit interest concerning the medium and ask every type of common questions about it, yet you want to glance demanding to discover the solutions.

Saturday Night Live, Hollywood Comedy, and American Culture: From Chevy Chase to Tina Fey

Saturday evening reside, Hollywood Comedy, and American tradition sheds new gentle at the ways that Saturday evening reside s confrontational, boundary-pushing strategy spilled over into movie creation, contributing to a few of the most important hits in Hollywood heritage, akin to nationwide Lampoon s Animal condominium, Ghostbusters, and Beverly Hills Cop.

Theorizing World Cinema

This groundbreaking and leading edge booklet is set where of global Cinema within the cultural imaginary. It additionally repositions global Cinema in a much broader discursive house than is generally the case and treats it as an item of theoretical enquiry, instead of as a advertisement label. The editors and exclusive workforce of individuals, together with Laura Mulvey, John Caughie, Geoffrey Nowell-Smith, Ashish Rajadhyaksha, and Paul Julian Smith, provide a variety of methods and case reports whose organizing precept is the constructing inspiration of polycentrism as utilized to cinema.

Additional resources for The Horror Film

Sample text

Bind. Copenhagen: Alf. Nielsens Forlag, 1932. 010 tybjerg (13-39) 12/12/03 9:48 AM Page 38 38 Casper Tybjerg Göke, Veronika, and Werner Sudendorf, eds. Henrik Galeen. Ed. Hans-Michael Bock and Wolfgang Jacobsen. Vol. 2, Film-Materialen. Hamburg: CineGraph, 1992. Greve, Ludwig, Margot Phele, and Heide Westhoff, eds. Hätte ich das Kino! Die Schriftsteller und der Stummfilm. Exhibition Catalogue ed. Marbach a. : Schiller-Nationalmuseum, 1976. Grodal, Torben. Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition.

Fønss 64) Oswald also demonstrated his artistic ambitions by beginning Hoffmanns Erzählungen with a prologue in which he himself appears in front of a monument to Schiller (who has no relevance to the film other than to connote “art”); the film also includes a scene that reproduces a well-known painting showing Hoffmann and one of his drinking buddies (Esser, 54). These examples may also attract our attention to the way in which these films also laid claim to the status of art by evoking the heritage of German Romanticism.

In the Introduction to the sumptuous catalogue, the curator Hugo von Tschudi noted: “Friedrich did not at all belong to the completely unknown,” but the relatively few pictures of his in public galleries had “spoken so quiet a language that the busy gallery spectators heedlessly passed them by. Only now, when all these known pictures are united with unknown ones from private owners, does his voice emerge, and with amazement we perceive an artist who has many and unusual things to say” (Tschudi, xxvi–xxvii).

Download PDF sample

Rated 4.67 of 5 – based on 22 votes