Barry Keith Grant
Autor de The Dread of Difference: Gender and the Horror Film
Sobre El Autor
Barry Keith Grant is Professor in the Department of Communications, Popular Culture, and Film at Brock University in Ontario, Canada. A Fellow of the Royal Society of Canada, he is the author or editor of many books, including Film Genre: From Iconography to Ideology and The Dread of Difference: mostrar más Gender and the Horror Film. mostrar menos
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- male
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John Ford's Stagecoach (Cambridge Film Handbooks) por Barry Keith Grant
This is a critical study of John Ford's classic film STAGECOACH, with a variety of essays from critics and academics. While the academic prose can be occasionally irredeemably rococo and thus intelligible mainly to academics, the book nevertheless contains useful insights and revelations about this milestone of American film.
List of essays:
The Mummy's Pool. Bruce Kawin
Horror films, nightmares and prophetic dreams. The Day the Earth Stood Still, The Thing from Another World, The Wolf Man, Vampyr, The Mummy, The Mummy's Hand and The Mummy's Ghost.
Faith and Idolatry in the Horror Film. J. P. Telotte
V. F. Perkins in 'Film as Film' suggested we redirect attention to the movie as it is seen, by shifting the emphasis back from creation to perception. Here two sides of the visual process are considered. The normal audience experience of the genre, and the focus on perception within the structure of one film - Psycho.
Conditions of Pleasure in Horror Cinema. Dennis Giles
Reception theory and fetishism in relation to horror films.
Monster Movies: a Sexual Theory. Walter Evans
The Wolf Man, Dracula and Frankenstein.
The Aesthetics of Fright. Morris Dickstein
Horror films work best when they remain simple and fundamental, like Halloween and Night of the Living Dead, which have the timeless aura of the early genre classics.
The Gothic: A Literary Genre's Transistion to Film. Charlene Bunnell
The Haunting and The Shining.
Subgenres in Horror Pictures: The Pentagram, Faust and Philoctetes. Joseph Reed
The Wolf Man picture, the Frankenstein movie and the Mad Doctor movie.
The Witch in Film: Myth and Reality. Sharon Russell
Witchcraft through the Ages, Day of Wrath and A Very Curious Girl.
'Canyons of Nightmare'. The Jewish Horror Film. Lester D. Friedman
The Golem, The Dybbuk, The Mortal Storm, The Little Shop of Horrors and Young Frankenstein.
Daughters of Darkness: The Lesbian Vampire on Film. Bonnie Zimmerman
An Introduction to the American Horror Film. (Robin Wood)
Eros and syphilization: The Contemporary Horror Film. Dana P. Polan
Horror is not merely among us, but rather part of us, caused by us. The Howling, It's Alive, Dawn of the Dead, Wolfen and They Came from Within.
King Kong: Ape and Essence. Noel Carroll
Film, Society and Ideas: Nosferatu and Horror of Dracula. Lane Roth
The Idea of Apocalypse in The Texas Chainsaw Massacre. Christopher Sharrett
Archetypal Landscapes and Jaws. Jonathan Lemkin
The Comic and the Grotesque in James Whale's Frankenstein Films. Janice R. Welsch and Syndy M. Conger
Biological Alchemy and the Films of David Cronenberg. Mary B. Campbell
The Enemy Within: The Economy of Violence in The Hills Have Eyes. D. N. Rodowick
Halloween: Suspense, Aggression and the Look. Steve Neale
Enunciation and the Production of Horror in White Zombie. Edward Lowry and Richard de Cordova… (más)
The Mummy's Pool. Bruce Kawin
Horror films, nightmares and prophetic dreams. The Day the Earth Stood Still, The Thing from Another World, The Wolf Man, Vampyr, The Mummy, The Mummy's Hand and The Mummy's Ghost.
Faith and Idolatry in the Horror Film. J. P. Telotte
V. F. Perkins in 'Film as Film' suggested we redirect attention to the movie as it is seen, by shifting the emphasis back from creation to perception. Here two sides of the visual process are considered. The normal audience experience of the genre, and the focus on perception within the structure of one film - Psycho.
Conditions of Pleasure in Horror Cinema. Dennis Giles
Reception theory and fetishism in relation to horror films.
Monster Movies: a Sexual Theory. Walter Evans
The Wolf Man, Dracula and Frankenstein.
The Aesthetics of Fright. Morris Dickstein
Horror films work best when they remain simple and fundamental, like Halloween and Night of the Living Dead, which have the timeless aura of the early genre classics.
The Gothic: A Literary Genre's Transistion to Film. Charlene Bunnell
The Haunting and The Shining.
Subgenres in Horror Pictures: The Pentagram, Faust and Philoctetes. Joseph Reed
The Wolf Man picture, the Frankenstein movie and the Mad Doctor movie.
The Witch in Film: Myth and Reality. Sharon Russell
Witchcraft through the Ages, Day of Wrath and A Very Curious Girl.
'Canyons of Nightmare'. The Jewish Horror Film. Lester D. Friedman
The Golem, The Dybbuk, The Mortal Storm, The Little Shop of Horrors and Young Frankenstein.
Daughters of Darkness: The Lesbian Vampire on Film. Bonnie Zimmerman
An Introduction to the American Horror Film. (Robin Wood)
Eros and syphilization: The Contemporary Horror Film. Dana P. Polan
Horror is not merely among us, but rather part of us, caused by us. The Howling, It's Alive, Dawn of the Dead, Wolfen and They Came from Within.
King Kong: Ape and Essence. Noel Carroll
Film, Society and Ideas: Nosferatu and Horror of Dracula. Lane Roth
The Idea of Apocalypse in The Texas Chainsaw Massacre. Christopher Sharrett
Archetypal Landscapes and Jaws. Jonathan Lemkin
The Comic and the Grotesque in James Whale's Frankenstein Films. Janice R. Welsch and Syndy M. Conger
Biological Alchemy and the Films of David Cronenberg. Mary B. Campbell
The Enemy Within: The Economy of Violence in The Hills Have Eyes. D. N. Rodowick
Halloween: Suspense, Aggression and the Look. Steve Neale
Enunciation and the Production of Horror in White Zombie. Edward Lowry and Richard de Cordova… (más)
Textbook from a film genres class I took. Some interesting criticism.
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- 27
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- #54,392
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