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Horror cinema flourishes in times of ideological crisis and national trauma--the Great Depression, the Cold War, the Vietnam era, post-9/11--and this critical text argues that a succession of filmmakers working in horror--from James Whale to Jen and Sylvia Soska--have used the genre, and the shock value it affords, to challenge the status quo during these times. Spanning the decades from the 1930s onward it examines the work of producers and directors as varied as George A. Romero, Pete Walker, Michael Reeves, Herman Cohen, Wes Craven and Brian Yuzna and the ways in which films like Frankenstein (1931), Cat People (1942), The Woman (2011) and American Mary (2012) can be considered "subversive."
Horror cinema flourishes in times of ideological crisis and national trauma--the Great Depression, the Cold War, the Vietnam era, post-9/11--and this critical t
Jon Towlson considers how Candyman might be read both as a "return of the repressed" and as an example of nineties neoconservative horror. He traces the film's
George A. Romero’s Dawn of the Dead (1978) is celebrated both as a ‘splatter’ movie and as a satire of 1970s consumerism. One of the most financially succ
For many, Close Encounters of the Third Kind (CE3K) is not so much a movie as a religious experience. On its release in 1977, CE3K virtually redefined the scien
Historically, zombies have been portrayed in films and television series as mindless, shuffling monsters. In recent years, this has changed dramatically. The un
