American Horror Film: The Genre at the Turn of the by Steffen Hantke

By Steffen Hantke

Creatively spent and politically beside the point, the yank horror movie is an insignificant ghost of its former self-or so is going the previous observed from fanatics and students alike. taking over this undeserved popularity, the participants to this assortment offer a entire examine a decade of cinematic construction, protecting a large choice of fabric from the final ten years with a transparent serious eye.

Individual essays profile the paintings of up-and-coming director Alexandre Aja and re-evaluate William Malone's muchmaligned Feardotcom within the mild of the torture debate on the finish of President George W. Bush's management. different essays examine the commercial, social, and formal elements of the style; the globalization of the U.S. movie undefined; the alleged escalation of cinematic violence; and the large advertisement acclaim for the remake. a few essays study particular subgenres-from the teenage horror flick to the serial killer movie and the non secular horror film-as good because the carrying on with relevance of vintage administrators corresponding to George A. Romero, David Cronenberg, John Landis, and Stuart Gordon.

Essays planned at the advertising of nostalgia and its concomitant aesthetic, and the interestingly schizophrenic viewpoint of fanatics who occur to be students in addition. Taken jointly, the members to this assortment make a compelling case that American horror cinema is as very important, artistic, and thought-provoking because it ever was.

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Table of contents:

Notes on Contributors.

Acknowledgments.

Introduction: Haneke’s Anachronism (Roy Grundmann).

Part I serious and Topical methods to Haneke’s Cinema.

1 Performative Self-Contradictions: Michael Haneke’s brain video games (Thomas Elsaesser).

2 5 Tapes, 4 Halls, goals: Vicissitudes of Surveillant Narration in Michael Haneke’s Caché (Thomas Y. Levin).

3 Infectious photos: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and movie (Vinzenz Hediger).

4 monitoring Code Unknown (Tom Conley).

5 Michael Haneke and the recent Subjectivity: structure and picture (Peter Eisenman).

6 video games Haneke performs: fact and function (Brigitte Peucker).

7 Figures of Disgust (Christa Blümlinger).

8 with no tune: On Caché (Michel Chion).

9 combating the Melodramatic : Haneke’s Polemics (Jörg Metelmann).

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18 The Void on the heart of items: Figures of identification in Michael Haneke’s Glaciation Trilogy (Peter J. Schwartz).

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20 among Adorno and Lyotard: Michael Haneke’s Aesthetic of Fragmentation (Roy Grundmann).

21 Hollywood Endgames (Leland Monk).

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23 Multicultural Encounters in Haneke’s French-Language Cinema (Alex Lykidis).

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26 Discordant wishes, Violent Refrains: los angeles Pianiste (The Piano instructor) (Jean Ma).

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28 The Intertextual and Discursive Origins of Terror in Michael Haneke’s Caché (T. Jefferson Kline).

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29 Terror and Utopia of shape: Robert Bresson’s Au hasard Balthazar (Michael Haneke).

30 Violence and the Media (Michael Haneke).

31 the realm that's identified: An Interview with Michael Haneke (Christopher Sharrett).

32 Unsentimental schooling: An Interview with Michael Haneke (Roy Grundmann).

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Additional info for American Horror Film: The Genre at the Turn of the Millennium

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The studio typically takes charge of distribution in the local market and will plug the film into its global distribution network if executives in Los Angeles believe that it has broad export potential (Dawtrey). The studios have also stepped up their acquisitions of local films that they had no hand in producing, distributing these films in their own domestic markets and sometimes in select export markets as well. The Hollywood studios have thus found ways to invest in and profit from resurgent film industries around the world.

Are these Korean-financed and -produced films really American films because they are aimed at American audiences? And finally, what is it about the horror film that makes it so open to transnationalization? Some genres, of course, transnationalize better than others. Films whose meanings depend heavily on dialogue or culturally specific social codes, such as the romantic or situation comedy, tend to be less mobile. In contrast, films that produce pleasure primarily through visual spectacle and simple, archetypal storytelling have a better chance of crossing national boundaries.

S. market, which is notoriously closed to foreign-language films (Yang). - a s i a n g e n r e s 11 Korean actors, dialogue, and settings that would enter the market visibly marked as foreign films, Korean companies decided to start financing and producing Englishlanguage films with American actors and settings that would be culturally similar to the local product. Shim Hyung-rae’s Dragon Wars (2007) (released as D-War in the United States) was one of the earliest instances of this strategy. A big-budget film about a dragon that wreaks havoc on Los Angeles—and thus a horror film in the broadest sense of the term—this English-language film starring Jason Behr and Amanda Brooks was shot primarily in California, although a Korean company produced the high-quality special effects.

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