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Packed with reviews of the best (and worst) slasher movies and illustrated with a collection of distinctive and often graphic poster artwork from around the world, this book looks at the political, cultural, and social influences on the slasher movie and its effect.
The horrorfilm subgenre; slasher is described from the beginning 1978 until 1984, which is considered the pinnacle of this movement.
Scholars have consistently applied psychoanalytic models to representations of gender in early teen slasher films such as Black Christmas (1974), Halloween (1978) and Friday the 13th (1980) in order to claim that these were formulaic, excessively violent exploitation films, fashioned to satisfy the misogynist fantasies of teenage boys and grind house patrons. However, by examining the commercial logic, strategies and objectives of the American and Canadian independents that produced the films and the companies that distributed them in the US, Blood Money demonstrates that filmmakers and marketers actually went to extraordinary lengths to make early teen slashers attractive to female youth, to minimize displays of violence, gore and suffering and to invite comparisons to a wide range of post-classical Hollywood's biggest hits; including Love Story (1970), The Exorcist (1973), Saturday Night Fever (1977), Grease and Animal House (both 1978). Blood Money is a remarkable piece of scholarship that highlights the many forces that helped establish the teen slasher as a key component of the North American film industry's repertoire of youth-market product.
From New York Times bestselling horror writer Stephen Graham Jones comes a classic slasher story with a twist—perfect for fans of Adam Cesare and Grady Hendrix. 1989, Lamesa, Texas. A small west Texas town driven by oil and cotton—and a place where everyone knows everyone else’s business. So it goes for Tolly Driver, a good kid with more potential than application, seventeen, and about to be cursed to kill for revenge. Here Stephen Graham Jones explores the Texas he grew up in, and shared sense of unfairness of being on the outside through the slasher horror Jones loves, but from the perspective of the killer, Tolly, writing his own autobiography. Find yourself rooting for a killer in this summer teen movie of a novel gone full blood-curdling tragic.
Many critics and fans refer to the 1990s as the decade that horror forgot, with few notable entries in the genre. Yet horror went mainstream in the '90s by speaking to the anxieties of American youth during one of the country's most prosperous eras. No longer were films made on low budgets and dependent on devotees for success. Horror found its way onto magazine covers, fashion ads and CD soundtrack covers. "Girl power" feminism and a growing distaste for consumerism defined an audience that both embraced and rejected the commercial appeal of these films. This in-depth study examines the youth subculture and politics of the era, focusing on such films as Buffy the Vampire Slayer (1992), Scream (1996), I Know What You Did Last Summer (1997), Idle Hands (1999) and Cherry Falls (2000).
For fans of Stephen King, Neil Gaiman, American Horror Story and The Walking Dead comes a powerhouse anthology featuring some of the best thriller and horror writers in YA Stefan Bachmann, Leigh Bardugo, Kendare Blake, A. G. Howard, Jay Kristoff, Marie Lu, Jonathan Maberry, Danielle Paige, Carrie Ryan, Megan Shepherd, Nova Ren Suma, McCormick Templeman, April Genevieve Tucholke, Cat Winters A host of the sharpest young adult authors come together in this collection of terrifying tales and psychological thrillers. Each author draws from a mix of literature, film, television, and music to create something new and fresh and unsettling. Clever readers will love teasing out the references and can satisfy their curiosity at the end of each tale, where the inspiration is revealed. There are no superficial scares here; these are stories that will make you think even as they keep you on the edge of your seat. From blood horror, to the supernatural, to unsettling, all-too-possible realism, this collection has something for anyone looking for an absolute thrill.
What would you do if someone acted out —for real— the kill scenes from your student-made horror film? That’s the dilemma facing high school seniors Cassie and Donovan. Best friends, aspiring filmmakers, and hopeful romantic partners, they set out to complete a feature-length horror film as a graduation project for their performing arts high school. Using actors and crew from among their classmates, they aim to finish the bulk of shooting over Spring Break. When several murders occur not far from their locations—each one recreating a specific “kill” scene from their script—they suddenly find themselves embroiled in a real-life horror movie neither of them bargained for. Cassie’s police officer dad and his ex-girlfriend—a homicide detective Cassie once hoped would be her stepmom—allow the film shoot to continue because the killer has threatened to murder Donovan’s mother if they stop. Traps are set and arrests are made, but the killer—who might be a member of the cast or crew—is one step ahead of their every move. Can Cassie and Donovan help the police unmask the psychopath before more people die?
Packed with slasher movie reviews and illustrated with an extensive collection of distinctive and often graphic color poster artwork, The Teenage Slasher Movie Book, 2nd Revised and Expanded Edition also looks at the political, cultural, and social influences on the slasher movie and its own effect on other film genres.
"Future historians of the horror genre who ignore Nowell's insights into a major transitional period in the relationship between independent producers and the major studios will do so at their own peril." Kevin Heffernan, author of Ghouls, Gimmicks and Gold: Horror Films and the American Movie Business, 1953-1968 "Challenging numerous myths along the way, this impeccably researched study sheds new light not only on slasher films and cycles, but on the nature, structure and practices of independent production in North America in the 1970s and 1980s. Highly recommended." Professor Steve Neale, University of Exeten "Meticulously researched and forcefully argued... Offers new insights into how films, filmmaking and film marketing operated in the North American film industry of the 1970s and early 1980s." Peter Kramer, University of East Anglia, UK, author of The New Hollywood (2005) Scholars have consistently applied psychoanalytic models to representations of gender in early teen slasher films in order to claim that these were formulaic. excessively violent exploitation films, fashioned to satisfy the misogynist fantasies of teenage boys and grind house patrons. However, by examining the commercial logic, strategies and objectives of the American and Canadian independents that produced the films and the companies that distributed them in the US. Blood Money demonstrates that filmmakers and marketers actually went to extraordinary lengths to make early teen slashers attractive to female youth, to minimize displays of violence, gore and suffering and to invite comparisons to a wide range of post-classical Hollywood's biggest hits---including Love Story and Saturday Night Fever. Richard Nowell is a film scholar who has lectured at leading universities in the UK and Germany. His work can also be seen in Cinema Journal the Journal of Film and Video, and Post Script.
Anglophone horror films are typically approached as the inevitable by-products of psychological and social demons haunting filmmakers and their homelands - in short, as if they were 'our collective nightmares'. These 'reflectionist' approaches have led horror films routinely and reductively to be framed as mouthpieces for misogynistic sadists lurking in the shadows of the exploitation sector, as defiant expressions of resistance enacted by noble progressives, or as platforms for the politically reactionary evils of the biggest, scariest monster of all: Hollywood. The industry logic, strategies, and practices that heavily determine horror film content, the nature of horror film production, promotion, and dissemination, as well as the responses to these activities, have therefore been either side-stepped completely or reduced unhelpfully to the profit-making motives underwriting all capitalist endeavours. Consequently, even though horror has been a key component of media output for almost a century, the genre's industrial character remains under explored and poorly understood." (EDITOR).