Most critical work on the horror film in Germany has been devoted to the period of the Weimar Republic and the classics it has produced, including Robert Wiene's The Cabinet of Dr. Caligari (1920) and F.W. Murnau's Nosferatu (1922). Postwar German horror film, however, has received little critical attention. Caligari's Heirs: The German Cinema of Fear after 1945 is a collection of essays that corrects this oversight by providing intelligent critical analyses of a variety of German horror films from the early postwar years to the present day. Following an introduction that discusses the...
Most critical work on the horror film in Germany has been devoted to the period of the Weimar Republic and the classics it has produced, including Rob...
In large part due to its emphasis on gore, screaming teenage girls, and otherworldly elements, horror films have received little critical attention from mainstream movie magazines and film-studies journals.
In Horror Film: Creating and Marketing Fear, essayists focus primarily on how film technology, marketing, and distribution effectively create the aesthetics and reception of horror films.
Previously unpublished, these essays cover several styles of horror film-including the silent German Expressionist masterpiece Nosferatu, the jittery mock-documentary The Blair...
In large part due to its emphasis on gore, screaming teenage girls, and otherworldly elements, horror films have received little critical attention...
Creatively spent and politically irrelevant, the American horror film is a mere ghost of its former self--or so goes the old saw from fans and scholars alike. Taking on this undeserved reputation, the contributors to this collection provide a comprehensive look at a decade of cinematic production, covering a wide variety of material from the last ten years with a clear critical eye.
Individual essays profile the work of up-and-coming director Alexandre Aja and reassess William Malone's much-maligned Feardotcom in the light of the torture debate at the end of President George W....
Creatively spent and politically irrelevant, the American horror film is a mere ghost of its former self--or so goes the old saw from fans and scho...
During the 1950s and early 1960s, the American film industry produced a distinct cycle of films situated on the boundary between horror and science fiction. Using the familiar imagery of science fiction--from alien invasions to biological mutation and space travel--the vast majority of these films subscribed to the effects and aesthetics of horror film, anticipating the dystopian turn of many science fiction films to come. Departing from projections of American technological awe and optimism, these films often evinced paranoia, unease, fear, shock, and disgust. Not only did these movies...
During the 1950s and early 1960s, the American film industry produced a distinct cycle of films situated on the boundary between horror and science...
