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Horror after 9/11 : World of Fear, Cinema of Terror / ed. by Sam J. Miller, Aviva Briefel.

Contributor(s): Material type: TextTextPublisher: Austin : University of Texas Press, [2021]Copyright date: ©2011Description: 1 online resource (273 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780292735330
Subject(s): DDC classification:
  • 791.43616409
LOC classification:
  • PN1995.9.H6 H64 2011
  • PN1995.9.H6 H64 2011
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Introduction -- Part One. Why Horror? -- 1. Black Screens, Lost Bodies: The Cinematic Apparatus of 9/11 Horror -- 2. Let’s Roll: Hollywood Takes on 9/11 -- 3. Transforming Horror: David Cronenberg’s Cinematic Gestures after 9/11 -- Part Two. Horror Looks at Itself -- 4. Caught on Tape? The Politics of Video in the New Torture Film -- 5. Cutting into Concepts of “Reflectionist” Cinema? The Saw Franchise and Puzzles of Post- 9/11 Horror -- 6. The Host versus Cloverfield -- 7. “Shop ’Til You Drop!”: Consumerism and Horror -- Part Three. Horror in Action -- 8. Historicizing the Bush Years: Politics, Horror Film, and Francis Lawrence’s I Am Legend -- 9. “I Am the Devil and I’m Here to Do the Devil’s Work”: Rob Zombie, George W. Bush, and the Limits of American Freedom -- 10. “Forever Family” Values: Twilight and the Modern Mormon Vampire -- 11. Assimilation and the Queer Monster -- Selected Bibliography -- Selected Filmography -- Contributors -- Index
Summary: Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen? Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of 'torture porn,' the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780292735330

Frontmatter -- Contents -- Acknowledgments -- Introduction -- Part One. Why Horror? -- 1. Black Screens, Lost Bodies: The Cinematic Apparatus of 9/11 Horror -- 2. Let’s Roll: Hollywood Takes on 9/11 -- 3. Transforming Horror: David Cronenberg’s Cinematic Gestures after 9/11 -- Part Two. Horror Looks at Itself -- 4. Caught on Tape? The Politics of Video in the New Torture Film -- 5. Cutting into Concepts of “Reflectionist” Cinema? The Saw Franchise and Puzzles of Post- 9/11 Horror -- 6. The Host versus Cloverfield -- 7. “Shop ’Til You Drop!”: Consumerism and Horror -- Part Three. Horror in Action -- 8. Historicizing the Bush Years: Politics, Horror Film, and Francis Lawrence’s I Am Legend -- 9. “I Am the Devil and I’m Here to Do the Devil’s Work”: Rob Zombie, George W. Bush, and the Limits of American Freedom -- 10. “Forever Family” Values: Twilight and the Modern Mormon Vampire -- 11. Assimilation and the Queer Monster -- Selected Bibliography -- Selected Filmography -- Contributors -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen? Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of 'torture porn,' the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)