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In this volume, contributors explore the deep ideological polarization in US society as portrayed in horror narratives and tropes. By navigating this polarized society in their representation of social values, twenty[1]first-century horror films critically frame and engage conflicting and divisive ideological issues. Culture Wars and Horror Movies: Social Fears and Ideology in Post-2010 Horror Cinema analyses the ways in which these “culture wars” make their way into and through contemporary horror films, focusing on the post-2010 US context and its fundamental political divisions.
What didn't you like about the 1990s--the peace or the prosperity? Setting aside nostalgia for the end of the 20th century, this book takes a candid look at the decade after the Cold War and before 9/11, when America's culture war began with the election of a media-savvy, Baby Boomer president (and his liberal feminist wife). Bill Clinton's postmodern administration betokened gay equality, an education-based labor force and a race and gender-diverse workplace and government, panicking conservatives and sparking the 1994 Republican Revolution. Meanwhile, with the advent of the 24-hour cable news cycle and the Internet, a media "punditocracy" arose. Parsing every event from the O.J. Simpson trial to the Monica Lewinsky scandal, commentators and talk show hosts spun news, politics and pop culture until they became one thing. Beginning with the "Red and Blue" partitioning of America that would nurture the Tea Party, and ending with the 9/11 attacks, this examination of the 1990s demonstrates how the decade shaped the world we live in today.
Entertainment has long been a source of controversy in American life. On the one hand, American popular culture is enormously desired, captivating audiences around the world. On the other hand, more and more critics blame it for the breakdown of morals and even civilizations itself. Surely Christians and other religious citizens have something to contribute to what is, after all, a discussion of morality. But too often their contributions have been ill-informed, unreflective and reactionary. In this groudbreaking book, William Romanowski brings something desperately needed to the discussion: an informed, systematic and challenging Christian perspective. Comprehensive and historically revealing, Pop Culture Wars bids to accomplish nothing less than to reframe and render more constructive a crucial but angry cultural debate.
The New York Times film critic shows why we need criticism now more than ever Few could explain, let alone seek out, a career in criticism. Yet what A.O. Scott shows in Better Living Through Criticism is that we are, in fact, all critics: because critical thinking informs almost every aspect of artistic creation, of civil action, of interpersonal life. With penetrating insight and warm humor, Scott shows that while individual critics--himself included--can make mistakes and find flaws where they shouldn't, criticism as a discipline is one of the noblest, most creative, and urgent activities of modern existence. Using his own film criticism as a starting point--everything from his infamous dismissal of the international blockbuster The Avengers to his intense affection for Pixar's animated Ratatouille--Scott expands outward, easily guiding readers through the complexities of Rilke and Shelley, the origins of Chuck Berry and the Rolling Stones, the power of Marina Abramovich and 'Ode on a Grecian Urn.' Drawing on the long tradition of criticism from Aristotle to Susan Sontag, Scott shows that real criticism was and always will be the breath of fresh air that allows true creativity to thrive. "The time for criticism is always now," Scott explains, "because the imperative to think clearly, to insist on the necessary balance of reason and passion, never goes away."
A collection of letters from a cross-section of Japanese citizens to a leading Japanese newspaper, relating their experiences and thoughts of the Pacific War.
As the horror subgenre du jour, found footage horror's amateur filmmaking look has made it available to a range of budgets. Surviving by adapting to technological and cultural shifts and popular trends, found footage horror is a successful and surprisingly complex experiment in blurring the lines between quotidian reality and horror's dark and tantalizing fantasies. Found Footage Horror Films explores the subgenre's stylistic, historical and thematic development. It examines the diverse prehistory beyond Man Bites Dog (1992) and Cannibal Holocaust (1980), paying attention to the safety films of the 1960s, the snuff-fictions of the 1970s, and to television reality horror hoaxes and mockumentaries during the 1980s and 1990s in particular. It underscores the importance of The Blair Witch Project (1999) and Paranormal Activity (2007), and considers YouTube's popular rise in sparking the subgenre's recent renaissance.
Cult Cinema: an Introduction presents the first in-depth academic examination of all aspects of the field of cult cinema, including audiences, genres, and theoretical perspectives. Represents the first exhaustive introduction to cult cinema Offers a scholarly treatment of a hotly contested topic at the center of current academic debate Covers audience reactions, aesthetics, genres, theories of cult cinema, as well as historical insights into the topic
Since the mid-1980s, US audiences have watched the majority of movies they see on a video platform, be it VHS, DVD, Blu-ray, Video On Demand, or streaming media. Annual video revenues have exceeded box office returns for over twenty-five years. In short, video has become the structuring discourse of US movie culture. Killer Tapes and Shattered Screens examines how prerecorded video reframes the premises and promises of motion picture spectatorship. But instead of offering a history of video technology or reception, Caetlin Benson-Allott analyzes how the movies themselves understand and represent the symbiosis of platform and spectator. Through case studies and close readings that blend industry history with apparatus theory, psychoanalysis with platform studies, and production history with postmodern philosophy, Killer Tapes and Shattered Screens unearths a genealogy of post-cinematic spectatorship in horror movies, thrillers, and other exploitation genres. From Night of the Living Dead (1968) through Paranormal Activity (2009), these movies pursue their spectator from one platform to another, adapting to suit new exhibition norms and cultural concerns in the evolution of the video subject.