Titlebook: Embodiment and Horror Cinema; Larrie Dudenhoeffer Book 2014 Larrie Dudenhoeffer 2014 Horror.film studies.cinema studies.body theory.affect

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https://doi.org/10.1007/978-1-4302-3859-1trivial, “innocent or apparently meaningless.”. He takes this analogy further so as to define horror films as “collective nightmares,” as reactions to unconscious desires that, in a culture that values family, monogamy, cisgender identification, and the redirection of surplus sexual energies, must a

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https://doi.org/10.1007/978-3-658-19105-4wer drain, argues that this scene allegorizes “the potentialities for horror that lie in the depths of us all … which have their source in sex.”. Raymond Durgnat agrees with Wood’s assessment, while also suggesting that this scene exaggerates and counterpoints the quickie with Sam that opens the fil

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https://doi.org/10.1007/978-981-10-2708-6another media format, its title making reference to the name of Grandpa Munster’s dragster in . television sitcom. This music speaks to Zombie’s transmedia. interests, specifically regarding the convergence of electronic music and digital filmmaking in terms of the aesthetic techniques, intertextual

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https://doi.org/10.1007/978-3-322-93687-5torture, and the supernatural, the film does not type either He or She as an antichrist. Von Trier also does not offer any explanation of the film’s title, coyly saying in an interview, “I always thought it was a good title. It’s not really a horror film and it’s not really religious. So if it’s a g

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Ecaterina Balica,Valentina Marinescu demonstrate that even films without much carnage in them, such as ., the Universal monster films, and ., or without any explicit thematization of the infidelities of the flesh, such as . or ., deserve serious reconsideration as examples of “body horror,” since they all verify, to a significant degr

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Darkness into Light: An Introduction to the Four Tissue Types of Horror Cinema,rom a psychoanalytic standpoint, as does Robin Wood, for example, often draw attention to the relationship of the cinematic experience to such Freudian orthodoxies as the revelation of sexual, violent, or self-destructive desires in the unconscious that remain inadmissible to the ego’s self-concept;