By Charles Derry

Drastically elevated and up-to-date from the 1977 unique, this re-creation explores the evolution of the fashionable horror movie, really because it displays anxieties linked to the atomic bomb, the chilly warfare, Nineteen Sixties violence, sexual liberation, the Reagan revolution, September 11 and the Iraq conflict.

It divides glossy horror into 3 types (psychological, demonic and apocalyptic) and demonstrates how horror cinema represents the preferred expression of daily fears whereas revealing the forces that effect American ideological and political values.

Directors given a detailed interpreting contain Alfred Hitchcock, Brian De Palma, David Cronenberg, Guillermo Del Toro, Michael Haneke, Robert Aldrich, Mel Gibson and George A. Romero. extra fabric discusses postmodern remakes, horror franchises and Asian millennial horror. This booklet additionally comprises greater than 950 body grabs and a really broad filmography.

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Extra resources for Dark Dreams 2.0: A Psychological History of the Modern Horror Film from the 1950s to the 21st Century

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For no reason at all kills his wife, mother, and a delivery boy, and then snipes from atop a gas tank, and then from a drive-in theatre, getting confused and stopping only when confronted by Boris Karloff— both in the flesh and on the screen. The idea of one set of horror values (being embodied by Boris Karloff ) confronting another set of horror values (that is, the horror-of-personality values embodied in the Bobby Thompson character) is particularly strong. Although Bobby Thompson is then apprehended, Targets can be looked at as a kind of wistful elegy for the kind of supernatural classic horror that is no longer as meaningful as it once was.

The horror became not at all symbolic, but quite specific. Aside from studying the nature of the horror, it is equally important to study the explanation of the horror within the context of the story. In the classic horror story, there are two basic methods of explaining things away — either supernaturally or pseudoscientifically. Into the supernatural group one could fit all the monsters and horrors that are somehow involved with religions and ritual. This would include all the witchcraft movies (with their obvious Christian basis) and other horrors, such as The Mummy (Egyptology and reincarnation), Dracula (Christianity, again), zombie movies (with their stress on voodoo), and perhaps even The Golem (with its magic book and magic star).

And even Paranoia (an Italian sexploitation film originally called Orgasmo, but partially an hommage to Robert Aldrich’s two horror films). , made in 1962. Hush, Sweet Charlotte, was directed by Robert Aldrich. The reviews of Baby Jane were on the whole much better than those of Sweet Charlotte, but even in the laudatory reviews, there was a general tendency to dismiss these films as only horror films — as grand guignol— as if a horror film could not be worth serious consideration. Actually, the contribution of Robert Aldrich to the horror-of-personality films cannot be overestimated.

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