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Little Horrors
Zombies, werewolves and chainsaw-wielding maniacs are tried-and-true staples of horror films. But none can match the visceral dread evoked by a child with an innocent face and a diabolical stare. Cinema's evil children attack our cherished ideas of innocence and our innocent bystander status as the audience. A good horror film is a scary ride--a "devil child" movie is a guilt trip. This book examines 24 international films--with discussions of another 100--that in effect "indict" viewers for crimes of child abuse and abandonment, greed, social and ecological negligence, and political and war crimes, and for persistent denial of responsibility for them all. For 75 years evil children have ritually rebuked audiences and, in playing on our guilt, established a horror subgenre that might be described as a blood-spattered rampage on an ethical mission.
Lovable Crooks and Loathsome Jews
In the years leading up to the World Wars, Germany and Austria saw an unprecedented increase in the study and depiction of the criminal. Science, journalism and crime fiction were obsessed with delinquents while ignoring the social causes of crime. As criminologists measured criminals' heads and debated biological predestination, court reporters and crime writers wrote side-splitting or heart-rending stories featuring one of the most popular characters ever created--the hilarious or piteous crook. The author examines the figure of the crook and notions of "Jewish" criminality in a range of antisemitic writing, from Nazi propaganda to court reporting to forgotten classics of crime fiction.
The Cabin in the Woods
The Cabin in the Woods (2012), directed by Drew Goddard and co-authored by Goddard and Joss Whedon of Buffy-fame, was famously described by co-author Whedon as his ‘loving hate letter’ to horror. Interviews with Whedon reveal that his struggles with modern cinematic horror are not merely emotional, but intensely philosophical. This book is the first to read Cabin as a philosophical metatext that asks what horror offers audiences and why audiences accept. Like any good philosophy, the film offers no answers but raises questions: what ‘choices’ are possible in a pre-determined universe? How do we, the audience, see the victims of violence, and with what ethical consequences? And finally, the most fraught question of all: why do we keep looking?
Murderesses in German Writing, 1720-1860
An analysis of how female criminals were perceived both in the legal sphere and in general culture.
My Little Geography
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Pet Sematary
Most scholarship on Mary Lambert's Pet Sematary (1989) overarchingly focuses on the Stephen King novel (1983), and tends strongly towards housing the story within the Gothic literary tradition. The film itself is often absent from considerations of North American horror cinema of the 1980s, and from wider horror scholarship in general. This Devil's Advocate stands as a corrective, and provides a holistic analysis – textual, contextual, and industrial – of the film, in order to properly situate it as an important entry into the history of horror cinema. This book joins a growing body of works – both journalistic and academic – that aim to revisit older films in order to call attention...
Blumhouse Productions
Blumhouse Productions is the first book that systematically examines the corpus of Blumhouse’s cinematic output. Individual chapters written by emerging and established scholars consider thematic trends across Blumhouse films, such as the use of found footage, haunted bodies/haunted houses, and toxic masculinity. Blumhouse’s business strategies and funding model are considered – including the company’s high-profile franchises Paranormal Activity, Insidious, The Purge, Happy Death Day, and Halloween – alongside such key standalone films as Get Out and Black Christmas, and nonhorror films like BlackKklansman. Taken together, the chapters provide a thorough primer for one of the most significant drivers behind the contemporary resurgence of horror cinema.
12 Monkeys
This volume examines Terry Gilliam's 12 Monkeys (1995) with an eye to the film's major themes, including mental illness, conspiracy theories, the impossibility of human closeness, and the nature of reality. It reads 12 Monkeys's portrayal of time travel in light of Einstein's ideas about time and the problem of free will versus determinism.
Little Detours
Both the letters, edited and censored by Runckel, and the plays, commissioned and edited by her husband, reveal a number of intriguing "detours" from the path of conventionality: biographical aberrations in her letters (her chagrined loyalty to her husband, her passionate "friendship" with Runckel) and poetological deviations from her husband's poetics expressed in her dramas."--BOOK JACKET.
