Horror Zone: The Cultural Experience of Contemporary Horror CinemaIan Conrich Robin Wood has noted that horror 'has consistently been one of the most popular and, at the same time, the most disreputable of Hollywood genres'. Horror is still immensely popular but its assimilation into our culture continues apace. In "Horror Zone", leading international writers on horror take horror into the world outside cinema screens to explore the interconnections between the films and modern media and entertainment industries, economies and production practices, cultural and political forums, spectators and fans. They critically examine the ways in which the horror genre functions in all its multifarious forms, considering, for example, "The Friday the 13th" films as a contemporary grand guignol, the new series of "Mummy" and "Blade" films as blockbusters, and horror film marketing on the internet. They also examine the relationship between the contemporary horror film and the theme park ride, the horror film as art house cinema, relationships between pornography and the horror film, set and costume design in horror films such as "The Silence of the Lambs", and the place of special effects in this most reputable of film genres. |
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Page 27
... Blockbuster STACEY ABBOTT From The Godfather to Jaws to Star Wars , we see films that are increasingly plot - driven , increasingly visceral , kinetic , and fast - paced , increasingly reliant on special effects , increasingly ...
... Blockbuster STACEY ABBOTT From The Godfather to Jaws to Star Wars , we see films that are increasingly plot - driven , increasingly visceral , kinetic , and fast - paced , increasingly reliant on special effects , increasingly ...
Page 28
... blockbuster event film largely due to the perception that it appeals to a restricted audience . The films are usually given an NC - 17 or R rating in the US , or an 18 or 15 in the UK , which immediately reduces the potential audience ...
... blockbuster event film largely due to the perception that it appeals to a restricted audience . The films are usually given an NC - 17 or R rating in the US , or an 18 or 15 in the UK , which immediately reduces the potential audience ...
Page 34
... blockbuster status and the expectation that higher investment will bring higher rewards , a promise that to varying degrees paid off.36 The blockbuster season began with The Mummy . The film was released on 7 May , two weeks prior to ...
... blockbuster status and the expectation that higher investment will bring higher rewards , a promise that to varying degrees paid off.36 The blockbuster season began with The Mummy . The film was released on 7 May , two weeks prior to ...
Contents
Introduction | 1 |
Manufacture and Design | 4 |
The Horror Blockbuster | 27 |
Copyright | |
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28 Days Later aesthetic Antichrist apocalypse argues audience auteurs become Blair Witch Project blind blockbuster body box office characters comic book Conrich contemporary horror conventions critical Cronenberg cult dark ride David Cronenberg director disability discussion Evil Dead example experience exploitation fan communities fan culture fandom Fangoria female fiction film festivals film's filmmakers Frankenstein Friday the 13th FrightFest ghost Gothic high concept Hollywood horror cinema horror fan horror films horror genre horror rides hybrid Ian Conrich Ibid interactive Internet Jason killer London magazines mainstream marketing Matt Hills monster movie Mummy narrative Nazi Nightmare on Elm paracinematic popular pornography Premiere production notes release Routledge scenes Scream Screen International sexual slasher films social special effects splatter films Star story studies subcultural capital taste television texts theatre theme park University Press Vampire victims Video Watchdog viewer vision York zombies