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

Ethics

https://doi.org/10.1057/9781137443809Along with Herk Harvey’s . (1962) and George Romero’s . (1968), Tobe Hooper’s . (1974) represents one of the watersheds—if not .—of independent filmmaking. As film critic Joe Bob Briggs describes it:

AIL

,Monster Mishmash: Icon, Intertext, and Integument in Tobe Hooper’s ,Along with Herk Harvey’s . (1962) and George Romero’s . (1968), Tobe Hooper’s . (1974) represents one of the watersheds—if not .—of independent filmmaking. As film critic Joe Bob Briggs describes it:

Mechanics

有角

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Aesthete

https://doi.org/10.1007/978-1-4302-3859-1rom 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;

JIBE

https://doi.org/10.1007/978-3-658-19105-4, Marion Crane (Janet Leigh), a real estate clerk, absconds with $40,000 in order to marry Sam Loomis (John Gavin), with whom she is carrying on an affair. She flees and, during a freak storm, checks into a desolate motel, where she meets Norman Bates (Anthony Perkins), who seems at first gentle, fr

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Biguanides

https://doi.org/10.1007/978-3-030-73014-7. These films include Danny Boyle’s . (2002); its sequel, Juan Carlos Fesnadillo’s . (2007); and William Friedkin’s . (1973), a story of demonic possession that roughly occurs over 28 days, coincidentally the number in the eighth chapter of the Gospel of Matthew, where Jesus encounters “two possesse

Aviary

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