American Horrors: Essays on the Modern American Horror Film
Since the release of Rosemary's Baby in 1968, the American horror film has become one of the most diverse, commercially successful, widely discussed, and culturally significant film genres. Drawing on a wide range of critical methods, this title examines individual films, directors, and subgenres.
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Night of the Living Dead Its Not Like Just a Wind Thats Passing Through
The Trauma of Infancy in Roman Polanskis Rosemarys Baby
Seeing Is Believing The Exorcist and Dont Look Now
Eyes of Laura Mars A Binocular Critique
Returning the Look Eyes of a Stranger
The Stalker Film 197881
The Funhouse and The Howling
Through a Pumpkins Eye The Reflexive Nature of Horror
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ABC-TV alien American audience Barbara become body bourgeois Brian De Palma camera Carpenter characters child Cinema contemporary horror film context culture danger Dark David David Cronenberg death demonic devil dream Dressed to Kill essay evil Exorcist Eyes of Laura family melodrama fantasy fear female figure film's finally Frankenstein Friday the 13th Funhouse genre Halloween heroine horror film human John John Carpenter Kate killer Larry Cohen Laura Mars Living Dead look made-for-television horror movies made-for-television movies male Michael modern horror monster murder narrative Nightmare novel Palma's paternity patriarchal Polanski Poltergeist popular present protagonists Psycho psychological R. H. W. Dillard reality repressed Richard Robin Wood Romero's Rosemary Rosemary's Baby scene science fiction film sequence sexual shot sisters social stalker film Stephen King story structure subgenre suggests supernatural symbolic teenagers telefilms television terror threat tion traditional vampire victims viewer violence vision visual woman women young community
Page 7 - The true weird tale has something more than secret murder, bloody bones, or a sheeted form clanking chains according to rule. A certain atmosphere of breathless and unexplainable dread of outer, unknown forces must be present; and there must be a hint, expressed with a seriousness and portentousness becoming its subject, of that most terrible conception of the human brain — a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults...
Page 10 - ... a plethora of mysterious clues and a cast of likely suspects. Prom Night and Terror Train, in turn, have their analogues in the many recent detective films, including Sharky's Machine (1981), /, The Jury (1982), Endangered Species (1982), and Tightrope (1984), which match the detective against the monstrous opponent who seems to be an interloper from the realm of horror. As Leo Braudy puts it, 'Understanding the appeal of horror films these days is crucial to understanding films in general because...
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