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. |
From inside the book
Results 1-3 of 39
Page 103
... tastes ... 1 Written five years before Pierre Bourdieu published his monumental study on the social construction of taste , Lester Bangs ' diatribe against a nebulously defined group of cultural custodians epitomises Bourdieu's ...
... tastes ... 1 Written five years before Pierre Bourdieu published his monumental study on the social construction of taste , Lester Bangs ' diatribe against a nebulously defined group of cultural custodians epitomises Bourdieu's ...
Page 107
... taste publics " that are nevertheless involved in a common “ taste culture " . As Gans writes : " Taste cultures are not cohesive value systems , and taste publics are not organised groups ; the former are aggregates of similar values ...
... taste publics " that are nevertheless involved in a common “ taste culture " . As Gans writes : " Taste cultures are not cohesive value systems , and taste publics are not organised groups ; the former are aggregates of similar values ...
Page 127
... taste . What is troubling to Dargis about Park's work is not the violence or exploitation elements per se . In fact , Dargis often gives favorable and perceptive reviews of ' pure ' horror films ( those which are not received at Cannes ) ...
... taste . What is troubling to Dargis about Park's work is not the violence or exploitation elements per se . In fact , Dargis often gives favorable and perceptive reviews of ' pure ' horror films ( those which are not received at Cannes ) ...
Contents
Introduction | 1 |
Manufacture and Design | 4 |
The Horror Blockbuster | 27 |
Copyright | |
13 other sections not shown
Other editions - View all
Common terms and phrases
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