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Using the Hollywood studio system (1931-1960) as a historical center, this book performs close readings of classic horror films (such as Frankenstein and Cat People) while asking the following three questions: What about this movie is weird? What does this movie think ought to scare you? If there weren't monsters in this movie, what would be wrong with these people's lives? These questions guide readers toward the uniqueness of horror films in relation to the way they are classified and the feeling of "horror" that they offer. The horror genre is a collection of culturally-shared elements--words, images, or themes used to signify or evoke horror, because they have been used that way before. Instead of treating movies as examples of the horror genre through how they evoke feelings from viewers, this book locates the meaning of horror within individual films and shows how movies make their own genealogies and complicate their own scares in an evolution of the genre. It argues that classic horror movies are forms of reception of--and resistance to--the ideas of horror that were current in their historical period. Working historically, the author traces movies' interactions with their precursors and co-conspirators to show how they are the agents of historical changes in the genre and in what we take to be horror.
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Driven by his dream to write and stage an epic stage production of interwoven Chinese novelsWittman Ah Sing, a Chinese-American hippie in the late '60s.
There was one thing money couldn't buy… Darryn Langtry was in trouble—big trouble! She was stranded in the middle of the Montana mountains with Kirk Storm as her reluctant guide. They were worlds apart but the attraction between them was electrifying. But Kirk made it clear that he thought she was little more than a daddy's girl: vain, shallow and spoiled. But Darryn had never wanted anything as much as she wanted Kirk. Maybe money couldn't buy love, but she had to make him see beyond her riches to the passionate woman beneath!