By Harry M. Benshoff
This state of the art assortment good points unique essays by means of eminent students on considered one of cinema's such a lot dynamic and enduringly renowned genres, masking every thing from the background of horror videos to the newest serious approaches.
Contributors contain a number of the best lecturers operating within the box, in addition to fascinating more youthful scholars
Varied and complete assurance, from the background of horror to broader problems with censorship, gender, and sexuality
Covers either English-language and non-English horror movie traditions
Key themes comprise horror movie aesthetics, theoretical methods, distribution, artwork condo cinema, ethnographic surrealism, and horror's relation to documentary movie practice
A thorough remedy of this dynamic movie style fitted to students and lovers alike
Read or Download A Companion to the Horror Film PDF
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Extra resources for A Companion to the Horror Film
Like many earlier films it came from a literary source, but it also profited from close cooperation between its original author, a screenwriter, and Griffith. Although not among the first films shot in California, it was the first to exploit the rich variety of the western landscape. While scores of little movies had retold the epic of the Civil War, only The Birth of a Nation reached a scale that gave it larger meaning commensurate with the fifty-year anniversary of the Civil War. But the most important new stroke came from the brush of the press agent.
He turns and angrily hurls his glass at her. ) derived from vaudeville style, thus permitting black vengeance behind the comic mask. (Library of Congress) 18 Slow Fade to Black casians as they await their turns at the stall of a sidewalk drink-vendor. They are contemptuously refused service. Later, the second of the blacks, imposing in hat and cape, bribes three kids to blacken the vendor's face as she naps under a kiosk in the parklike setting. As she awakens, passers-by inexplicably laugh at her, spank her, and harry her from the park.
The balance is broken when "the child goes to warn her new friends" of an Indian attack. Her shots still place her in isolation, in contrast to the war party's solidarity. As she warns the whites, the next cut is to the broken doll in the center of a low, tight closeup of the Indians riding toward and over it. The audience learns through the doll that the races must remain pure in order to survive. The last shot is on the Indian maid, shattered by her cross-cultural experience, head bowed, then 36 Slow Fade to Black painfully looking up, perhaps lost in prayer before the broken doll who has taught her that love cannot cross racial lines.
A Companion to the Horror Film by Harry M. Benshoff