By Steffen Hantke
Creatively spent and politically inappropriate, the yank horror movie is an insignificant ghost of its former self-or so is going the previous observed from enthusiasts and students alike. taking up this undeserved popularity, the members to this assortment offer a entire examine a decade of cinematic creation, masking a wide selection of fabric from the final ten years with a transparent severe eye.
Individual essays profile the paintings of up-and-coming director Alexandre Aja and re-evaluate William Malone's muchmaligned Feardotcom within the mild of the torture debate on the finish of President George W. Bush's management. different essays examine the industrial, social, and formal points of the style; the globalization of the U.S. movie undefined; the alleged escalation of cinematic violence; and the big advertisement acclaim for the remake. a few essays learn particular subgenres-from the teenage horror flick to the serial killer movie and the non secular horror film-as good because the carrying on with relevance of vintage administrators similar to George A. Romero, David Cronenberg, John Landis, and Stuart Gordon.
Essays planned at the advertising and marketing of nostalgia and its concomitant aesthetic, and the apparently schizophrenic viewpoint of enthusiasts who ensue to be students besides. Taken jointly, the participants to this assortment make a compelling case that American horror cinema is as very important, artistic, and thought-provoking because it ever was.
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Extra resources for American Horror Film: The Genre at the Turn of the Millennium
Example text
If the “performance of Americanness is increasingly becoming a ‘universal’ or ‘universalizing’ characteristic in world cinema” (Ezra and Rowden 2), American 15 16 to n y p e r r e l lo cinema is also increasingly flavored by non-American matter and actors. A glance at the major categories of the 2007 Academy Awards reveals a globalizing impulse even in mainstream American cinema: Daniel Day-Lewis (British), Best Actor; Marion Cotillard (French), Best Actress; Javier Bardem (Spanish), Best Supporting Actor; Tilda Swinton (Scottish), Best Supporting Actress; Ratatouille (set in Paris, co-directed by Jan Pinkeva), Best Animated Feature Film.
Hutchings, Peter. The Horror Film. Harrow: Pearson/Longman, 2004. ” Guardian Unlimited Film, November 18, 2006. html (accessed November 17, 2009). Jancovich, Mark, ed. Horror: The Film Reader. London: Routledge, 2002. ———. ” The Film Cultures Reader. Ed. Graeme Turner. London: Routledge, 2002. 469–81. Kleffel, Rick. ” The Agony Column. Posted September 7, 2003. com/agony/indexes/audio_interview_index. htm (accessed June 1, 2008). ” IMDb. com/title/tt0418819/ (accessed November 18, 2006). Maddrey, Joseph.
A glance at the major categories of the 2007 Academy Awards reveals a globalizing impulse even in mainstream American cinema: Daniel Day-Lewis (British), Best Actor; Marion Cotillard (French), Best Actress; Javier Bardem (Spanish), Best Supporting Actor; Tilda Swinton (Scottish), Best Supporting Actress; Ratatouille (set in Paris, co-directed by Jan Pinkeva), Best Animated Feature Film. In an effort to conquer world markets, several French directors have traded on their success at home, revisited popular genres, and won acclaim in Hollywood.