By Harry M. Benshoff
This state-of-the-art assortment positive factors unique essays via eminent students on considered one of cinema's such a lot dynamic and enduringly renowned genres, protecting every thing from the heritage of horror videos to the newest serious approaches.
Contributors comprise some of the most interesting lecturers operating within the box, in addition to interesting more youthful scholars
Varied and finished assurance, from the historical past of horror to broader problems with censorship, gender, and sexuality
Covers either English-language and non-English horror movie traditions
Key themes contain horror movie aesthetics, theoretical methods, distribution, artwork apartment cinema, ethnographic surrealism, and horror's relation to documentary movie practice
A thorough therapy of this dynamic movie style fitted to students and fans alike
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Extra info for A Companion to the Horror Film
Or Boogie Nights. Or Ed Wood. But you said they were postmod screwball. CHAZ: I think we’re back to my original point, brother. Funny comes out of the surround; change the surround, you change funny. When the world was modern—by which I mean it was the dominant lens of viewing—what was funny and what wasn’t funny obliged the specifications of the lens. If comedy is no more than a certain artful rearrangement of our sense of realism, and our sense of realism comes out of way of realizing, or deeming things real or not real, rational or irrational, normal 48 THIS IS A PICTURE AND NOT THE WORLD or absurd, anticipated or not, then any change at this foundational level changes everything.
Postmod screwball isn’t at play within a shared reality; it’s at play with reality and the assumption that it’s shared. What’s projected are various representations of reality that implicitly show us that reality is many pictures running in many different theatres. LEE: Cineplex. Multiplex. I get it, bro’. CHAZ: Take films like Zelig, Purple Rose of Cairo, Pleasantville, Ed TV, The Truman Show. The postmodern vibe to these comedies is all about representation and reality. In the postmod view, reality is there, but when we come to represent what’s there, all we’ve got is .
You’re looking at postmod through the lens of market value. LEE: But we’ve got some comedies made with the postmodern lens? And George Clooney isn’t in one? CHAZ: The Coen Brothers are sampling romantic screwball comedy in Intolerable Cruelty where George Clooney samples Cary Grant. In O Brother, Where Art Thou? (2000) the Coen Brothers are not only sampling Preston Sturges’s great comedy Sullivan’s Travels (1941) but Homer’s Odyssey too. Clooney himself samples not only the goldentongued Odysseus but every golden-tongued, thin-mustached, fast-talking, narcissistic leading man of Hollywood’s golden era, from John Barrymore and William Powell to Clark Gable.
A Companion to the Horror Film by Harry M. Benshoff