By Steffen Hantke
Creatively spent and politically inappropriate, the yank horror movie is an insignificant ghost of its former self-or so is going the outdated observed from enthusiasts and students alike. taking up this undeserved recognition, the members to this assortment supply a finished examine a decade of cinematic construction, overlaying 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 think again 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 commercial, 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 study particular subgenres-from the teenage horror flick to the serial killer movie and the non secular horror film-as good because the carrying on with relevance of vintage administrators equivalent 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 apparently schizophrenic viewpoint of enthusiasts who ensue to be students in addition. Taken jointly, the participants 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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Additional resources for American Horror Film: The Genre at the Turn of the Millennium
Desser, David. ” Film Genre Reader III. Ed. Barry Keith Grant. Austin: University of Texas Press, 2003. 516–36. Diffrient, David Scott. ” South Korean Golden Age Melodrama: Gender, Genre, and National Cinema. Eds. Kathleen McHugh and Nancy Abelmann. Detroit: Wayne State University Press, 2005. 151–83. Dissanayake, Wimal, ed. 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.
N ot e s 1. , Hong Kong Film, Hollywood, and the New Global Cinema (New York: Routledge, 2007); David Desser, “Global Noir: Genre Film in the Age of Transnationalism,” Film Genre Reader III, ed. - a s i a n g e n r e s 13 Again: New Essays on the Western, ed. Edward Buscombe and Roberta E. 4 (2008): 871–98; and David Scott Diffrient, “Han’gul Heroism: Cinematic Spectable and the Postwar Cultural Politics of Red Muffler,” South Korean Golden Age Melodrama: Gender, Genre, and National Cinema, ed.
Hollywood films are successful because they have a strong domestic market, and they can produce a large volume of films. If Asian films have a larger domestic market, we can do exactly the same thing. (Po) By making films that relate to Asia as a single regional market rather than a collection of small national markets, Chan hopes that he and other Asian filmmakers can establish an economic foundation for their industries equivalent to that enjoyed by Hollywood. Applause Pictures produces films from across the genre map, including musicals (Perhaps Love ), war films (The Warlords ), dramas (Jan Dara ), and, of course, horror.