...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...

... 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...

...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...

...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...

..., and of utopian wonder and dystopian anxiety, which charac- terized and differentiated “traditional” horror and SF films were explicitly returned to American soil and to that domestic structure of social relations we call the nuclear family. Thus, despite their reversed visual perspectives and differing...

...? 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...

... 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...

... 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 a place for the father, given...

... 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...

... realm from the “other” of mass culture, only succeeds in registering art’s unstable affinity with that other-and not just because Demme, whose mentor was horror-movie king Roger Corman, slyly mixes cultural levels of horror within the film itself.2 More generally, “art...

... 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 the remains of other horror films...

..., 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...

.... 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...

... 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...

...” 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...

... 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...

... 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...

..., 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...

... of the films in question. The NFE transgresses the frontier divid- ing generic domains, as most of the films associated with this trend are situated in the still largely uncharted territory at the border between art and horror cinema. The films retain from the latter the centrality of body...

..., 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...