the gothic horror genre. Though the themes have remained constant, the cultural context which surrounds them, have not, as exemplified in Dracula, a novel by Bram Stoker, and Francis Ford Coppola's 1992 film adaptation. Gothic horror is a well-known genre, believed to have been invented by Horace Walpole in 1764 when he wrote The Castle of Otranto. This novel, and all gothic novels written afterwards, have multiple characteristics in common that make them part of the gothic horror genre. These characteristics
their testimonies in documentary Sex in a Cold Climate filmed in 2007. The film strongly criticizes the cruelties that occured between the walls of these institutions and the Roman Catholic Church. While genre-wise it is obviously a drama, however, it may easily be interpreted as a horror movie due to numerous elements distinctive of the genre. In the following I propose to explore the devices used in creating the horror atmosphere placing emphasis on the representation of the female characters and
Research Feature Film Analysis- Halloween Genre and Audience Halloween is a slasher horror film. Slasher is a sub genre of a horror film, typically involving a psychopathic killer stalking and murdering a sequence of victims in a graphically violent manner. It was directed by John Carpenter, who although has worked in numerous film genres, he is most commonly associated with horror and science fiction films from the 1970s and 1980s. The targeted audience for this film is most likely to be people
The Devil Inside - I Will Possess Your Heart Barbara Creed is an active member of the horror film genre - being a viewer of films as well as a speaker and writer. She’s the author of a certain book called, “The Monstrous-Feminine: Film, Feminism, Psychoanalysis.” Barbara Creed argues that horror films generally when creating a possession film, the filmmaker generally puts the woman in the position of victim. She says that when a female is considered “monstrous” it generally has to do with her reproductive/mothering
James Cameron’s film, Aliens, was released in 1986 towards the end of the second wave of feminism, which strayed from focussing on women’s legal rights, instead broadening to a wider range of issues such as ‘sexuality, family, the workplace, reproductive rights, de facto inequalities, and official legal inequalities’ . The effect of this wave of feminism can be seen clearly in the Alien films, which are drenched in reproductive imagery through the use of the Alien Queen’s role as not just a mother
Digital EL0767 Critical Review: Skin Shows: Gothic Horror and the Technology of Monsters by Judith Halberstam Katie Weymes 09006464 Introduction As a key text of its field, Skin Shows: Gothic Horror and the Technology of Monsters by Dr. Judith Halberstam, approaches the topic of monstrosity as a construction of the body through a range of discourses in the evolution of Gothic culture from literature of the early nineteenth century to modern film. A contribution to the field, positioned alongside
While the 1981 film, An American Werewolf in London, is considered by many to be a classic horror film, it is also a film that has a misogynistic implicit meaning. The film is somewhat of a coming of age story. The two main characters, shortly after graduating, arrive in England to travel explore both foreign lands and foreign women. The sexual symbolism throughout the film implies that the female body is a dangerous thing. Men’s lustful desires can cause a total transformation from something human
Jordan Peele’s debut film, Get Out, surprises viewers as a wide-reaching, culture shocking two and a half hour experience. Get Out resides in the horror genre of films with obvious social commentary, but its key moments that provide historical perspectives on racial politics while also touching on embedded racism in white, progressive communities tend to be overlooked in discussions. The layered themes in Get Out begin with the pronounced conversation of interracial relationships, the complex idea of
that effectively illustrate the different ways authentic and forced expressions determine how the audience relates with an image or setting are Dorothea Lange’s “Migrant Mother” (1936) and Cindy Sherman’s “Paintings #92” (1981). Both images portray women caught in distinct positions within
generation a Slayer is born. One girl in all the world, a Chosen One. One born with the strength and skill to hunt the vampires, to stop the spread of their evil…” (“Welcome to the Hellmouth”, 1997) Early in the 1990s, teen angst, vampire mythology, horror and “Girl Power” culminated in a pop culture icon: the vampire slayer. But not just any slayer: Buffy the Vampire Slayer. In 1997, Buffy Summers kickboxed her way into the hearts and minds of young adults everywhere through a television show named