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New Blood
This book signifies innovative developments in horror cinema research, as well as the current state of the genre within the film and media industries. It is an injection of fresh insights into horror cinema scholarship. This is a book that includes academic studies from established scholars and early career researchers, as well as fans of horror cinema.
Re-Animator
Since its release at the mid-point of the 1980s American horror boom, Stuart Gordon’s Re-Animator (1985) has endured as one of the most beloved cult horror films of that era. Greeted by enthusiastic early reviews, Re-Animator has maintained a spot at the periphery of the classic horror film canon. While Re-Animator has not entirely gone without critical attention, it has often been overshadowed in horror studies by more familiar titles from the period. Eddie Falvey’s book, which represents the first book-length study of Re-Animator, repositions it as one of the most significant American horror films of its era. For Falvey, Re-Animator sits at the intersection of various developments that...
The Cinema of Yorgos Lanthimos
From the critical and commercial fanfare his films generate, it is largely understood that Yorgos Lanthimos is one of the more interesting filmmakers to have emerged out of the new century. A markedly transnational filmmaker, between Dogtooth and The Favourite Lanthimos has managed to traverse the gap between the art-house and mainstream while not once sacrificing his unique style and worldview. His films, while often difficult, showcase his talents as a filmmaker, collaborator, and commentator on the human condition. Accompanied by a trademark acerbic wit, Lanthimos's films take aim at humanity's more contemptible and absurd designs as he explores a thematic preoccupation with, among other ...
Post-Horror
Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed 'elevated horror' and 'post-horror,' films such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema.
The Vanishing (Spoorloos)
At the 1989 Sydney Film Festival, George Sluizer's little-known independent film, Spoorloos (The Vanishing), was an unexpected hit, winning the festival's audience award and gaining accolades at other international film festivals. The Vanishing has earned a reputation as a psychological thriller that shocked audiences with its unexpected twist ending. This is the first book-length study to examine The Vanishing as a film that complements and broadens generic expectations of psychological horror cinema. It delves into The Vanishing's production history, including Sluizer's adaptation of the film screenplay from the novella The Golden Egg (1984) by Dutch author Tim Krabbé. Beyond exploring Sl...
I Walked With a Zombie
I Walked with a Zombie (1943), Val Lewton's second feature for RKO Radio Pictures, was described by critic Robin Wood as 'perhaps the most delicate poetic fantasy in the American Cinema.' Following immediately in the wake of the groundbreaking Cat People (1942), Zombie pioneered an even more radical narrative approach yet proved to be the critical and commercial equal of its predecessor, cementing the reputation of both Lewton and his director, Jacques Tourneur. Despite the lurid, studio-imposed title, I Walked with a Zombie is a subtle and ambiguous visual poem that advanced a daring condemnation of slavery and colonialism at a time when such themes were being actively suppressed by governm...
The Wicker Man
Many fans of Robin Hardy’s The Wicker Man (1973) may know that this classic is considered a fine sample of folk horror. Few will consider that it’s also a prime example of holiday horror. Holiday horror draws its energy from the featured festive day, here May Day. Sergeant Neil Howie (Edward Woodward), a “Christian copper,” is lured to the remote Scottish island Summerisle where, hidden from the eyes of all, a thriving Celtic, pagan religion holds sway. His arrival at the start of the May Day celebration is no accident. The clash between religions, fought on the landscape of the holiday, drives the story to its famous conclusion. In this Devil’s Advocate, Steve A. Wiggins delineate...
Eyes Wide Shut
Twenty years after its release, Stanley Kubrick's Eyes Wide Shut remains a complex, visually arresting film about marriage, jealousy, domesticity, adultery, sexual disturbance, and dreams. This was the final enigmatic work from its equally enigmatic creator. It has left an indelible mark on our popular culture and remains as relevant as ever. Much maligned and much misunderstood when it first came out, Eyes Wide Shut has since been the subject of an animated debate and discussion among critics, fans and academics. It has been explored from a wide variety of disciplines and methodological perspectives. This collection brings scholars from diverse disciplinary backgrounds together with those who worked on the film to explore Eyes Wide Shut’s legacy, discuss its impact, and consider its position within Kubrick’s oeuvre and the wider visual and socio-political culture.
The Evil Dead
The Evil Dead (1982) is one of the most inventive and energetic horror movies of the last 40 years. This Devil's Advocate examines its appeal and impact from a variety of perspectives, including how it creates a 'bad dream' effect, its 'Final Guy' male hero, and its troubled critical reception.
POV Horror
Drawing together strands of film theory and psychology, this book offers a fresh assessment of the found footage horror subgenre. It reconceptualizes landmark films--including The Blair Witch Project (1999), Cloverfield (2008), Paranormal Activity (2009), and Man Bites Dog (1992)--as depictions of the lived experience and social legacy of psychological trauma. The author demonstrates how the frantic cinematography and ambiguous formulation of the monster evokes the shocked and disoriented cognition of the traumatized mind. Moreover, the frightening effect of trauma on society is shown to be a recurring theme across the subgenre. Close textual analysis is given to a wide range of films over several decades, including titles that have yet to receive any academic attention. Divided into four distinct sections, the book examines how found footage horror films represent the effects of historical and contemporary traumatic events on Western societies, the vicarious spread of traumatic experiences via mass media, the sublimation of domestic abuse into haunted houses, and the viewer's identification with the monster as an embodiment of perpetrator trauma.
