classic European horror cinema in contemporary American culture /
First Statement of Responsibility
Ian Olney.
.PUBLICATION, DISTRIBUTION, ETC
Place of Publication, Distribution, etc.
Bloomington :
Name of Publisher, Distributor, etc.
Indiana University Press,
Date of Publication, Distribution, etc.
c2013.
PHYSICAL DESCRIPTION
Specific Material Designation and Extent of Item
xix, 257 p. :
Other Physical Details
ill. ;
Dimensions
25 cm.
SERIES
Series Title
New directions in national cinemas.
INTERNAL BIBLIOGRAPHIES/INDEXES NOTE
Text of Note
Includes bibliographical references (p. 233-241) and index.
CONTENTS NOTE
Text of Note
Toward a performative theory of Euro horror cinema. Academic hot spots and blind spots: horror film studies and Euro horror cinema -- Fast, cheap, and out of control: the academic case against Euro horror cinema -- Playing dead, take one: Euro horror film production -- Playing dead, take two: Euro horror film reception -- Return of the repressed: Euro horror cinema in contemporary American culture -- Case studies in Euro horror cinema. Blood and black lace: the Giallo film -- The whip and the body: the S&M horror film -- Cannibal apocalypse: cannibal and zombie films -- Conclusion: from the grindhouse to the arthouse: the legacy of Euro horror cinema.
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SUMMARY OR ABSTRACT
Text of Note
Beginning in the 1950s, "Euro Horror" movies materialized in astonishing numbers from Italy, Spain, and France and popped up in the US at rural drive-ins and urban grindhouse theaters such as those that once dotted New York's Times Square. Gorier, sexier, and stranger than most American horror films of the time, they were embraced by hardcore fans and denounced by critics as the worst kind of cinematic trash. In this volume, Olney explores some of the most popular genres of Euro Horror cinema--including giallo films, named for the yellow covers of Italian pulp fiction, the S&M horror film, and cannibal and zombie films--and develops a theory that explains their renewed appeal to audiences today.