Spanish Horror Film Lazaro-Reboll, Antonio; Badley, Linda; Palmer, R. Barton
11/2012
eBook
Spanish Horror Film is the first in-depth exploration of the genre in Spain from the 'horror boom' of the late 1960s and early 1970s to the most recent production in the current renaissance of ...Spanish genre cinema, through a study of its production, circulation, regulation and consumption. The examination of this rich cinematic tradition is firmly located in relation to broader historical and cultural shifts in recent Spanish history and as an important part of the European horror film tradition and the global culture of psychotronia.Key Features: The first critical study on Spanish horror film to be published in English.An overview of key directors, cycles and representative films as well as of more obscure and neglected horror production.A detailed analysis of the work of directors such as Jesús Franco, Amando de Ossorio, Narciso Ibáñez Serrador, Eloy de la Iglesia, Jaume Balagueró, Nacho Cerdá and Guillermo del Toro's Spanish" films.A focus on critical and cult contexts of reception in Spain
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.
Lady in the dark Sitton, Robert
2014., 20140401, 2014, 2014-03-11
eBook
Iris Barry (1895–1969) was a pivotal modern figure and one of the first intellectuals to treat film as an art form, appreciating its far-reaching, transformative power. Although she had the bearing ...of an aristocrat, she was the self-educated daughter of a brass founder and a palm-reader from the Isle of Man. An aspiring poet, Barry attracted the attention of Ezra Pound and joined a demimonde of Bloomsbury figures, including Ford Maddox Ford, T. S. Eliot, Arthur Waley, Edith Sitwell, and William Butler Yeats. She fell in love with Pound's eccentric fellow Vorticist, Wyndham Lewis, and had two children by him. In London, Barry pursued a career as a novelist, biographer, and critic of motion pictures. In America, she joined the modernist Askew Salon, where she met Alfred Barr, director of the new Museum of Modern Art. There she founded the museum's film department and became its first curator, assuring film's critical legitimacy. She convinced powerful Hollywood figures to submit their work for exhibition, creating a new respect for film and prompting the founding of the International Federation of Film Archives. Barry continued to augment MoMA's film library until World War II, when she joined the Office of Strategic Services to develop pro-American films with Orson Welles, Walt Disney, John Huston, and Frank Capra. Yet despite her patriotic efforts, Barry's "foreignness" and association with such filmmakers as Luis Buñuel made her the target of an anticommunist witch hunt. She eventually left for France and died in obscurity. Drawing on letters, memorabilia, and other documentary sources, Robert Sitton reconstructs Barry's phenomenal life and work while recasting the political involvement of artistic institutions in the twentieth century.
This series presents diverse and fascinating movements in world cinema. Each volume concentrates on a set of films from a different national, regional or, in some cases, cross-cultural cinema which ...constitute a particular tradition.
Based on detailed onsite observation of documentary production, circulation practices and the analysis of film texts, this book identifies independence as a 'tactical practice', contesting the ...normative definitions and functions assigned to culture, cultural production and producers in a neoliberal economic system.
Were brutal American horror movies like the Saw and Hostel films a reaction to the trauma of 9/11? Were they a reflection of 'War on Terror'-era America? Or was something else responsible for the ...rise of these violent and gory films during the first decade of the twenty-first century? Selling the Splat Pack unravels the history of how the emergence of the DVD market changed cultural and industrial attitudes about horror movies and film ratings. These changes made way for increasingly violent horror films, like those produced by the 'Splat Pack', a group of filmmakers who were heralded in the press as subversive outsiders. Taking a different tack, Mark Bernard proposes that the films of the Splat Pack were products of, rather than reactions against, film industry policy. This book includes an overview of the history of the American horror film from an industry studies perspective, an analysis of how the DVD market influenced the production of American horror films, and an examination of films from Splat Pack members such as Eli Roth, Rob Zombie, James Wan, and Alexandre Aja. By re-examining the history of the American horror film from a business perspective and exploring how DVD influenced the production of American horror films in the early twenty-first century, this thought-provoking book provides students and scholars in Film Studies with an alternative perspective on the Splat Pack."
