Download American Horror Film: The Genre at the Turn of the by Steffen Hantke PDF

By Steffen Hantke

Creatively spent and politically inappropriate, the yankee horror movie is an insignificant ghost of its former self-or so is going the outdated observed from fanatics and students alike. taking up this undeserved acceptance, the participants to this assortment supply a accomplished examine a decade of cinematic creation, masking a large choice of fabric from the final ten years with a transparent serious eye.

Individual essays profile the paintings of up-and-coming director Alexandre Aja and re-evaluate William Malone's muchmaligned Feardotcom within the mild of the torture debate on the finish of President George W. Bush's management. different essays examine the industrial, social, and formal elements of the style; the globalization of the U.S. movie undefined; the alleged escalation of cinematic violence; and the big advertisement approval for the remake. a few essays learn particular subgenres-from the teenage horror flick to the serial killer movie and the religious horror film-as good because the carrying on with relevance of vintage administrators corresponding to George A. Romero, David Cronenberg, John Landis, and Stuart Gordon.

Essays planned at the advertising and marketing of nostalgia and its concomitant aesthetic, and the interestingly schizophrenic standpoint of lovers who ensue to be students besides. Taken jointly, the individuals to this assortment make a compelling case that American horror cinema is as important, artistic, and thought-provoking because it ever was.

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Extra resources for American Horror Film: The Genre at the Turn of the Millennium

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Melodrama and Asian Cinema. Cambridge: Cambridge University Press, 1993. Frater, Patrick. ” Variety Asia, January 2, 2007. com/content/view/553/53/. Friend, Tad. ” New Yorker, June 2, 2003. currentPage=1. Gray, Jason. ” Screen Daily, January 23, 2007. aspx. Harvey, Dennis. ” Variety, March 23, 2007. categoryid=31&cs=1. Hazelton, John. ” Screen International, June 3, 2007. aspx. Hendrix, Grady. Kaiju Shakedown blog. varietyasiaonline. com/component/ option,com_myblog/Itemid,10021/limit,10/limitstart,10/.

Like Letters from Iwo Jima, the film hit its target audience: in addition to topping Korea’s annual box office chart, it earned over $10 million in the United States, which is the highest return for any Korean movie released in the United States. S. market by financing the production of low-budget English-language and American-set genre films directed by Korean Americans. Eschewing D-War’s strategy of aiming at a mainstream American market (the film was released on over two thousand screens), these companies are seeking to enter the United States via the ethnic niche market.

Hollywood studios earn money when their English-language blockbuster films do well in Japan; they are also starting to earn money when local Japanese films perform well in theaters, both at home and abroad. While the content of a local–language film may have wholly local origins, one must ask if the participation of a Hollywood studio shapes its expressive form, particularly its narrative form, given Hollywood’s adherence to a relatively strict body of conventions regarding characterization, clarity, and structure.

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