Hearths of Darkness: The Family in the American Horror FilmAfter tracing relevant psychoanalytic and historical origins of the family horror film, Tony Williams traces this theme's development from Frankenstein, Hitchcock's influence, Satanist movies, to the genre's seventies renaissance. The book also argues that family horror never vanished from the eighties films but still functions as a motif. |
Contents
| 13 | |
Classical Shapes of Rage Universal and Beyond | 31 |
Lewton or The Ambiguities | 51 |
To Psycho and Beyond The Hitchcock Connection | 72 |
Return of the Native The Satanic Assaults | 99 |
Far from Vietnam The Family at War | 129 |
Sacrificial Victims | 155 |
Chain Saw Massacres The Apocalyptic Dimension | 183 |
Poltergeist and Freddys Nightmares | 225 |
The King Adaptations | 238 |
Into the Nineties | 250 |
Notes | 272 |
Bibliography | 296 |
| 311 | |
| 316 | |
The Return of Kronos | 211 |
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Alice American appears assault associations attempts baby becomes Bride of Frankenstein camera capitalist Chain Saw Massacre child Cinefantastique cinema contemporary creature cultural Damien dark Dead death demonic depicts desires Despite disavows dominating Dream Elm Street embodies Exorcist family horror film fantasy father feelings female film's final forces Frank Frankenstein Freddy Freddy's Friday the 13th gender genre genre's Gothic Halloween Hills Have Eyes Hitchcock's Hollywood horror films ideologic incestuous institutional Irena Jason kill Leatherface live male masculine Michael monster monstrous mother motifs Movie murder Nightmare on Elm normal Norman Bates Oliver parallels parents patriarchal Psycho Puritan Regan relationship repressed reveals Robin Wood role Rosemary Rosemary's Rosemary's Baby satanic scene sequence sexual shot shows sister slasher films social society Stephen King Steve Sticks and Bones suggests supernatural Texas Chain Saw tion traditional traumatic University Press Val Lewton victims Vietnam violent visual Ygor York zombie