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The first of its kind, this study examines the exemplars of hardcore horror--Fred Vogel's August Underground trilogy, Shane Ryan's Amateur Porn Star Killer series and Lucifer Valentine's "vomit gore" films. The author begins with a definition and critical overview of this marginalized subgenre before exploring its key aesthetic convention, the pursuit of realist horror. Production practices, exhibition and marketing strategies are discussed in an in-depth interview with filmmaker Shane Ryan. Audience reception is covered with a focus on fan interaction via the Internet.
This book signifies innovative developments in horror cinema research, as well as the current state of the genre within the film and media industries. It is an injection of fresh insights into horror cinema scholarship. This is a book that includes academic studies from established scholars and early career researchers, as well as fans of horror cinema.
The horror film generally presents a situation where normality is threatened by a monster. From this premise, Theatricality in the Horror Film argues that scary movies often create their terrifying effects stylistically and structurally through a radical break with the realism of normality in the form of monstrous theatricality. Theatricality in the horror fi lm expresses itself in many ways. For example, it comes across in the physical performance of monstrosity: the overthe-top performance of a chainsaw-wielding serial killer whose nefarious gestures terrify both his victims within the film and the audience in the cinema. Theatrical artifice can also appear as a stagy cemetery with broken-down tombstones and twisted, gnarly trees, or through the use of violently aberrant filmic techniques, or in the oppressive claustrophobia of a single-room setting reminiscent of classical drama. Any performative element of a film that flaunts its difference from what is deemed realistic or normal on screen might qualify as an instance of theatrical artifice, creating an intense affect in the audience. This book argues that the artificiality of the frightening spectacle is at the heart of the dark pleasures of horror.
This book brings together nine original chapters to examine genre agency in East Asian cinema within the transnational context. It addresses several urgent and pertinent issues such as the distribution and exhibition practices of East Asian genre films, intra-regional creative flow of screen culture, and genre’s creative response to censorship. The volume expands the scholarly discussion of the rich heritage and fast-changing landscape of filmmaking in East Asian cinemas. Confronting the complex interaction between genres, filmic narrative and aesthetics, film history and politics, and cross-cultural translation, this book not only reevaluates genre’s role in film production, distribution, and consumption, but also tackles several under-explored areas in film studies and transnational cinema, such as the history of East Asian commercial cinema, the East Asian film industry, and cross-media and cross-market film dissemination.
"SOV horror can be as simplistic, challenging, or offensive as any audience perceives it to be. It can also be enlightening, terrifying, and revealing...These are films that compare to no others in existence, and for that reason alone it’s long past time to accord them some measure of serious consideration." Long considered the dead-end of genre cinema, Shot-On-Video (SOV) horror finally gets its due as a serious filmmaking practice. Using classic fanzines, promotional materials, and especially the theories of several important film scholars, Vincent Albarano brings SOV horror into critical focus for the first time in print. Prior to this moment, Video Violence, Twisted Issues, Alien Beasts, and more have never been mentioned in the same breath as André Bazin and Siegfried Kracauer, despite their common ground. AESTHETIC DEVIATIONS delves deep into the most famous SOV horror titles to give credit for their unique and singular contributions to independent genre cinema. Informed equally by a fan’s passion and the studied approaches of scholarly analysis, Albarano offers the first-ever detailed examination of the SOV horror cycle, proving that this strain of amateur filmmaking is deserving of proper appraisal. Sure to enlighten and provoke thought among fans and converts to the unique charms of SOV cinema, as well as inspire newcomers, Albarano’s book proves an invaluable resource for a neglected area of cinematic inquiry.
An introduction to the horror film genre.
The taste for horror is arguably as great today as it has ever been. Since the turn of the millennium, the horror genre has seen various developments emerging out of a range of contexts, from new industry paradigms and distribution practices to the advancement of subgenres that reflect new and evolving fears. New Blood builds upon preceding horror scholarship to offer a series of critical perspectives on the genre since the year 2000, presenting a collection of case studies on topics as diverse as the emergence of new critical categories (such as the contentiously named ‘prestige horror’), new subgenres (including ‘digital folk horror’ and ‘desktop horror’) and horror on-demand (‘Netflix horror’), and including analyses of key films such as The Witch and Raw and TV shows like Stranger Things and Channel Zero. Never losing sight of the horror genre’s ongoing political economy, New Blood is an exciting contribution to film and horror scholarship that will prove to be an essential addition to the shelves of researchers, students and fans alike.
Beginning in the 1950s, "Euro Horror" movies materialized in astonishing numbers from Italy, Spain, and France and popped up in the US at rural drive-ins and urban grindhouse theaters such as those that once dotted New York's Times Square. Gorier, sexier, and stranger than most American horror films of the time, they were embraced by hardcore fans and denounced by critics as the worst kind of cinematic trash. In this volume, Olney explores some of the most popular genres of Euro Horror cinema—including giallo films, named for the yellow covers of Italian pulp fiction, the S&M horror film, and cannibal and zombie films—and develops a theory that explains their renewed appeal to audiences today.
Explores Gothic and horror film from early cinema to the presentOffers essays exploring Gothic film in the widest possible range of contextsExtends the field of Gothic film by spanning diverse historical periods, international contexts and (sub)genresStructured into 3 sections on History, Traditions and AdaptationsProvides major new appraisals of key works alongside neglected topicsThis anthology explores the resilience and ubiquity of the Gothic in cinema from its earliest days to its most contemporary iterations. Fifteen newly commissioned chapters by prominent scholars in the field of Gothic and cinema studies examine the myriad ways that filmmakers mobilise Gothic conceits across multiple film genres and in conjunction with several significant film styles. In the process, the book contributes exciting new readings of canonical works of Gothic cinema as well as important new critical examinations of emerging horror subgenres.