A Companion to the Horror Film

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A Companion to the Horror Film

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A Companion to the Horror Film : Harry M. Benshoff (editor) : : Blackwell's

A Companion to the Horror Film. Description This cutting-edge collection features original essays by eminent scholars on one of cinema's most dynamic and enduringly popular genres, covering everything from the history of horror movies to the latest critical approaches. Contributors include many of the finest academics working in the field, as well as exciting younger scholars Varied and comprehensive coverage, from the history of horror to broader issues of censorship, gender, and sexuality Covers both English-language and non-English horror film traditions Key topics include horror film aesthetics, theoretical approaches, distribution, art house cinema, ethnographic surrealism, and horror's relation to documentary film practice A thorough treatment of this dynamic film genre suited to scholars and enthusiasts alike show more.

Back cover copy This cutting-edge collection contains 30 original essays on one of cinema's most dynamic and enduringly popular genres. With contributions by many of the best-known scholars of film horror, A Companion to the Horror Film offers a critical survey of the art and practice of horror movies covering everything from craft and technique, historical developments, and modern-day trends, to broader topics opening onto the socio-political dimensions of the genre. The volume begins with essays devoted to the theoretical methodologies used to study the genre, from cognitive and philosophical approaches, through audience reception and psychoanalysis, to those approaches that examine gender, sexuality, race, class, and dis ability in relation to the horror film.

Subsequent sections cover horror film aesthetics, the history of the genre, and specific subjects including distribution and the relationship between horror, art house movies, and the documentary impulse.

  • A Companion to the Horror Film | Film Studies | Cultural Studies General | Subjects | Wiley;
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Combining wide-ranging analysis with nuanced commentary, A Companion to the Horror Film synthesizes key concepts related to the genre and presents original research reflecting the latest trends in horror film scholarship. It speaks to fan and scholar alike and will deepen the appreciation of those well-versed in horror film as well as newcomers to the subject.


Picart Index show more. Review Text "Historically comprehensive while refreshingly up-to-date, Harry M. Benshoff's A Companion to the Horror Film provides a much-needed, state-of-the-art overview of an endlessly mutating genre and its ever-evolving criticism.

A Companion To The Horror Film

Desire is portrayed as an insurmountable force, yet the monster embodying it is unremittingly predatory and physically horrible. He recog- nized that even as the unconscious prevails, even as the Other wreaks havoc on soci- ety, themonster remainsmonstrous. The revolution has not yet occurred that is truly liberatory.

AndNosferatu reminds us how the horror film, like all art, is subject to the forces of reaction, as indeed it was with the bourgeois retrenchment of the late twen- tieth century. But before the reaction to the progressive activity of the Sixties, the hor- ror filmwas distinctive in its remarks about the actual horrors of the bourgeoisworld. Horror and the Coming of Feminism Nosferatu points us to the tensions within the genre, the attempt by the forbidden to burst free while still being shackled, and often destroyed, by bourgeois society.

Final Girl

Still, the monster is often resurrected if not in sequels then by the suggestion, in the best films, that the other cannot be fully vanquished. The monster is often constituted as a force in opposition to liberation, as the Terrible Father enacting his law with a vengeance. For example, in Edgar G.

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In them, the demonic and the supernatural are tools marshaled by patriarchy. Both films share in common a degree of nihilism; they suggest that the female has no way out.