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horror film

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Journal Article
Camera Obscura (2009) 24 (2 (71)): 139–159.
Published: 01 September 2009
...K K Seet The rarely analyzed Asian horror film, which has had great impact on international film audiences recently as a result of Hollywood remakes, is increasingly mired in the milieu of home and hearth, leading to a new Asian variation of the domestic gothic. With specific reference to Japan's...
Journal Article
Camera Obscura (2020) 35 (1 (103)): 139–159.
Published: 01 May 2020
... because of this, the postindustrial city is ubiquitous within the genres of scifi/speculative, fantasy, and horror cinema, appearing consistently as backdrop, symbol, animus, and even in some cases, character. Given the wide literature on horror film, haunting, and traumatic memory, this article suggests...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 61–91.
Published: 01 December 2015
...Linda Liu Many US horror films made within the last thirty years feature haunted real estate narratives involving histories of land usurpation, territorial displacement, and other violence inflicted on socially marginalized groups. Insofar as the aftereffects of these histories recurrently manifest...
Journal Article
Camera Obscura (2017) 32 (2 (95)): 1–27.
Published: 01 September 2017
...Aviva Briefel This essay contends that Jennifer Kent's The Babadook (2014) expands the subgenre of maternal horror by exploring reassurance as a fraught motherly act, one that is imbricated with the trauma of having to believe in the child's monsters. The film dissects the rituals that have...
Journal Article
Camera Obscura (1986) 5 (3 (15)): 6–35.
Published: 01 December 1986
... Kubrick’s. One was born in a horror film, the other in a science fiction film. One stared up from a cradle toward its earthly mother, the other down from space toward Mother Earth. Nonetheless, both the “devil’s spawn” and the “starchild” condensed the visible sight of cultural difference, social...
Journal Article
Camera Obscura (1996) 13 (1 (37)): 69–91.
Published: 01 January 1996
...? In restricting the representation of fear or anxiety to figures we immediately recognize as privileged, the past two decades of horror and slasher films suggest that being frightened is paradoxically a sign of empowerment. Victims in these films are consistently white, suburban residents engaged...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 146–150.
Published: 01 May 2008
... Shadows fan cultures, blaxploitation horror films, Hollywood LSD films, and The Talented Mr. Ripley (1999). He is the author of Monsters in the Closet: Homosexuality and the Horror Film (1997). With Sean Griffin he coauthored America on Film: Representing Race, Class, Gender, and Sexuality...
Journal Article
Camera Obscura (1986) 5 (3 (15)): 3–5.
Published: 01 December 1986
... account of a crisis in patriarchy and paternity as it is developed in the horror film and family melo- drama and ingeniously “resolved” in contemporary science fiction film. She carefully documents the tendency toward mixing genres in 1970s and 80s American films, as they attempt to redefine...
Journal Article
Camera Obscura (2003) 18 (2 (53)): 125–151.
Published: 01 September 2003
... Halberstam, the film’s monster is every- where and everyone. Lecter and Bill again function as the pri- mary sites of monstrosity, although in Bill’s case, this is precisely because he foregrounds the fact that “horror resides at the level of skin itself.”6 However, Buffalo Bill and Hannibal Lecter...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 4–35.
Published: 01 September 1991
... levels of horror within the film itself.2 More generally, “art” is only ever a relative term, subject to constant canonical erosion, and if The Silence of the Lambs is one brow elevation above a film like Nightmare on Elm Street, it is also a brow below, say, Hitchcock’s Psycho...
Journal Article
Camera Obscura (1991) 9 (3 (27)): 36–53.
Published: 01 September 1991
... to the surface, the surface itself becomes a complex web of pleasure and danger; the surface rises to the surface, the surface becomes Leatherface, becomes Demme’s Buf- falo Bill, and everything that rises must converge. Demme’s film weaves its horror and its pleasure around...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 95–129.
Published: 01 May 2011
... address knowledge production, authorship, witnessing, and representation. The film manipulates the trope of blindness as a means to see what cannot be seen, to picture unrepresentable horrors found at the point of memory's failure. Second, I argue that this film uses blindness both to narrate histories...
Journal Article
Camera Obscura (2009) 24 (2 (71)): 161–183.
Published: 01 September 2009
..., those raised by film and film studies.3 And consistent with horror cinema, the construction of gender across the Silent Hill  video game presents many challenges to received understandings concerning the operation of representations and identity formations in popular media. Masculinity...
Journal Article
Camera Obscura (2000) 15 (1 (43)): 1–43.
Published: 01 May 2000
.... If we accept this interpretation, we may see how The Tenant and other Polanski films, most interestingly Death and the Maiden and Repulsion, reinvent, or reconfigure, the horror genre. The horror that permeates the visual universe of The Tenant and his CO 43-1, 1-43...
Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 235–249.
Published: 01 September 1985
...” of the 1940s but rather to show woman’s victimization by the genre; and while Linda Williams does begin by positing the female cinematic spectator and her ‘look’’at the horror film, she does not necessarily assume any spectator not already constructed by patriarchal cultural codes. As I see...
Journal Article
Camera Obscura (1992) 10 (1 (28)): 292–293.
Published: 01 January 1992
... Press, 1992. Men, Women, and Chain Saws: Gender in the Modern Horror Film by Carol J. Clover. Princeton University Press, 1992. Cultural Studies as Critical Theory by Ben Agger. The Falmer Press, 1992. The Male Nude in Contemporary Photography by Melody D. Davis. Temple University Press, 1991...
Journal Article
Camera Obscura (1996) 13 (1 (37)): 238–239.
Published: 01 January 1996
... on the development of the American horror film in the early nineties. Harun Farocki is a Berlin-based filmmaker, who makes primarily experimental documentary and "essay" films. He has made over seventy films, including Images ofthe World and the Inscription ofWar, Videograms ofa...
Journal Article
Camera Obscura (2011) 26 (2 (77)): 33–63.
Published: 01 September 2011
..., and closet hideouts, the monster’s respira- tion is what gives the horror film its vitality. The monster’s breath- ing is what is contested in the horror film. Villains with marked respiration are not limited to the mon- sters of horror films. Cultural associations that mark ill or disabled...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 161–187.
Published: 01 December 2015
... uncharted territory at the border between art and horror cinema. The films retain from the latter the centrality of body and violence and from the former the ambition to offer sociopolitical commentary or a challenge to conventions —  social, aesthetic, or otherwise. Dumont’s Twentynine...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 155–157.
Published: 01 September 1995
..., and Ethnographic Spectacle by Fatimah Tobing Rony. Duke University Press, 1997. $17.95. Action! The Action Movie A-2 by Marshall Julius. Indiana University Press, 1997. $16.95. The A-2 of Horror Films by Howard Maxford. Indiana University Press, 1997. $29.95...