Titlebook: Animal Horror Cinema; Genre, History and C Katarina Gregersdotter,Johan H?glund,Nicklas H?llé Book 2015 The Editor(s) (if applicable) and T

OCTO

Obligatory

Book 2015This first full-length scholarly study about animal horror cinema defines the popular subgenre and describes its origin and history in the West. The chapters explore a variety of animal horror films from a number of different perspectives. This is an indispensable study for students and scholars of cinema, horror and animal studies.

搬運(yùn)工

反抗者

DNR215

est. The chapters explore a variety of animal horror films from a number of different perspectives. This is an indispensable study for students and scholars of cinema, horror and animal studies.978-1-349-55349-5978-1-137-49639-3

Postulate

毛細(xì)血管

,‘They are a fact of life out here’: The Ecocritical Subtexts of Three Early-Twenty-First-Century Aungeness and upside-downness’ (2006, p. 26) and, thus, the uniqueness of Australia. No wonder that the Australian coat of arms features an emu and a red kangaroo, two native animals which were already charged with symbolic meaning in Aboriginal cultures before Europeans arrived Down Under.

殖民地

compassion

We Spiders: Spider as the Monster of Modernity in the Big Bug and Nature-on-a-Rampage Film Genres,ly providing the audience with a key to the film’s morality and a link between the cinematic antagonist, the spider, and the lack of pure Christian faith. The inhabitants of Wisconsin appear to live a rather immoral life before the spider arrives, engaged in boozing, adultery, incest and paedophilia

賄賂

,, and the Possibilities of Posthumanist Horror,irst century? Do its intertwined representations of animals and humans suggest the possibility of a ‘posthumanist’ horror film? Or, is the animal horror film built upon a distinctly humanist scaffold, dependent on the continual drawing and re-drawing of a fixed boundary line between humans and other