Jeske tracks the later film's failure as a postmodern retrospective reimagining of gender dynamics, stripped of the productive nihilism of Hooper's original, independent vision. In it, Jeske highlights the mythical elements of Tobe Hooper's The Texas Chainsaw Massacre, and the stripping of such qualities of cosmic dread in the stylistically self-conscious, but ultimately more thematically hollow, 2004 remake by Marcus Nispel. ![]() Jeske's essay, written in 2010, is presented here posthumously in honour of a friend who left us too soon. As Will Dodson's memorial preface explains, we lost friend and colleague Jeff Jeske in January 2017. Significantly, Giannini points to the series' investment in class dynamics in the United States as a key factor in its important critical project. Erin Giannini's study of the hit TV series iZombie takes on the series' repurposing of the traditional association of zombies with consumption to investigate the sociopolitical and ethical dimensions of food sourcing and production. In Freeman's analysis, The Human Centipede, First Sequence (2009) and Full Sequence (2011), are savvy reflections of spectatorial desire and horror's attractions-style presentation. Freeman's essay extends from the research she did for the three-week course she conducted for MMS in the winter of 2018 it argues that Tom Six's controversial, excessive first two Human Centipede films offer a critical grotesque realism that can be traced to the Bakhtinian carnivalesque. ![]() Combining a psychoanalytic theoretical framework, from Robin Wood's notion of the return of the repressed, with Julia Kristeva's notion of abjection, as well as other feminist horror theorists, Dagenais explores how the spectacle of exorcism demonizes female sexuality. Based on her Master’s thesis and a three-week course for the Montreal Monstrum Society (MMS) in the fall of 2018, Alexandra Dagenais' French-language essay addresses the motif of the possessed woman in the demonic possession subgenre as a manifestation of female sexuality repressed under the constraints imposed by the patriarchal order. MONSTRUM 2 presents six feature essays, four in English, one in Italian, and one in French. I conclude that the synergy of the literary gothic, stage melodrama, and Expressionism that characterises Gothic film now finds its purest form in the films of Tim Burton and Guillermo del Toro. ![]() The paper also considers period revivals such as Coppola’s Bram Stoker’s Dracula (1992) and Mary Shelley’s Frankenstein by Kenneth Branagh (1994), as well as more contemporary Gothic film, in particular the current trend for franchised vampires. Murnau’s Nosferatu, eine Symphonie des Grauens (1922), and James Whale’s Bride of Frankenstein (1935). The full entry includes close readings of Robert Weine’s influential and often imitated Das Cabinet des Dr. Ainsworth Thomas De Quincey John Polidori Regency Tales of Terror Monster Movies Richard Matheson.) This is an historical overview of the form from early European and American silent adaptations of Gothic novels and Victorian theatre to the hyper-real twenty-first century Hollywood product, via Expressionism, Universal Studios, Hammer Films, Mario Bava, and Roger Corman’s ‘Poe Cycle’ for American International. (Other entries: David Cronenberg Hammer Films W.H. Smith eds, Wiley-Blackwell Encyclopedia of the Gothic 2 vols. Here, I also want to highlight how various kinds of politics of taste - from the government to the rural spectators and the layar tancap entrepreneurs - interplayed in relation with local exploitation films, its rural audiences, and its culture of exhibition.ĥ000 word essay in: W. By observing the New Order’s film policies as well as general and trade magazines, I will investigate why and how this kind of cinema operated as displays of classic Indonesian exploitation movies - the films the New Order was actually trying to eliminate - and how they generated a unique subculture of rural spectatorship. Nonetheless, in this paper, I will demonstrate that layar tancap shows and their rural audiences are signs of cultural resistance which challenges legitimate culture, and that exploitation movies were a significant part of the process. For example, layar tancap shows were framed to only operate in rural and suburban areas and were policed with several strict policies. During the dictatorship of Indonesia’s New Order regime (1966-1998), local exploitation films, layar tancap (traveling cinema) and its spectators were marginalised by legitimate culture.
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