Relevant bibliographies by topics / Cannibal horror

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Cannibal horror'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Cannibal horror"

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Anderson, Donald L. "How the horror film broke its promise: Hyperreal horror and Ruggero Deodato’s Cannibal Holocaust." Horror Studies 4, no. 1 (April 1, 2013): 109–25. http://dx.doi.org/10.1386/host.4.1.109_1.

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Lee, Timothy Yoon-Suk, and Ju-Hyun Jin. "Research on the Cannibal Expression of Invisible Horror Elements in Films." Journal of the Korea Contents Association 11, no. 3 (March 28, 2011): 190–200. http://dx.doi.org/10.5392/jkca.2011.11.3.190.

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Zanini, Claudio Vescia. "The Subversion of Factual Discourse in Found Footage Films." Aletria: Revista de Estudos de Literatura 25, no. 3 (April 28, 2016): 85–94. http://dx.doi.org/10.17851/2317-2096.25.3.85-94.

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This article analyzes how the textual design of found footage films subvert factual discourse in order to increase the intended horror on screen. Movies such as Cannibal Holocaust (1980), The Blair Witch Project (1999), Paranormal Activity (2007) and The Gallows (2015) capitalize on the blur between reality and fiction, interfering with the way part of the audience responds to the movies. The article also contends that found footage films are natural by-products of postmodern times, which is especially characterized by ‘convergence culture’ (JENKINS, 2008) and ‘the disappearance of something real’, as two prime features of this genre.
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Jackson, Kimberly. "Dejects and Cannibals." Exchanges: The Interdisciplinary Research Journal 7, no. 2 (January 30, 2020): 134–52. http://dx.doi.org/10.31273/eirj.v7i2.476.

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Ana Lily Amirpour’s 2017 film The Bad Batch is a nightmare of postmodern abjection. Set in a desert wasteland in Texas, the film depicts a quasi-futuristic society that starkly reveals the dark underside of contemporary society, here portrayed in two realms, both exhibiting the height of abjection: the cannibal town called the Bridge and the shanty town of Comfort, where a lone perverse patriarch impregnates all the women while doling out steady doses of LSD to contain the masses. Borrowing from Julia Kristeva’s description of the ‘deject’ in her work Powers of Horror, this analysis focuses on those characters who ultimately choose neither of these options. Having confronted and internalized the abject, these characters become eternal exiles, achieving a measure of liberation by assuming and embodying their partiality and by embracing ‘a weight of meaninglessness, about which there is nothing insignificant’ (Kristeva, J., 1982: 2).
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AZKUNAGA-GARCÍA, Leire. "MÁS ALLÁ DE LAS FRONTERAS: IDENTIDADES LIMINALES EN LA FICCIÓN TELEVISIVA HANNIBAL, DE BRYAN FULLER." Signa: Revista de la Asociación Española de Semiótica 30 (January 6, 2021): 303. http://dx.doi.org/10.5944/signa.vol30.2021.29312.

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Resumen: Hannibal se presenta como un paradigma de las transformaciones que han sufrido las ficciones contemporáneas en los últimos años al introducir al otro, al villano, como protagonista del relato. La identidad del caníbal se conforma mediante conceptos culturalmente contrapuestos y se sitúa en un continuo entre: entre el bien y el mal, entre la monstruosidad y la humanidad, entre el horror de los crímenes que comete y la estetización y el preciosismo de cómo los presenta, entre la recreación de una exquisita alta cultura (gastronomía) y la animalidad y el salvajismo (canibalismo) que puntúa todos y cada uno de sus episodios.Abstract: Hannibal is presented as a paradigm of the transformations that contemporary fictions have undergone in recent years by introducing the other, the villain, as the main character of the story. The identity of the cannibal is formed by culturally opposed concepts and is placed in a continuous between: between good and evil, between monstrosity and humanity, between the horror of the crimes he commits and the aestheticization and preciousness of how he presents them, between the recreation of an exquisite high culture (gastronomy) and animality and savagery (cannibalism) that scores each and every one of its episodes.
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Williams, Rebecca. "Cannibals in the Brecon Beacons: Torchwood, Place and Television Horror." Critical Studies in Television: The International Journal of Television Studies 6, no. 2 (September 2011): 61–73. http://dx.doi.org/10.7227/cst.6.2.8.

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Gillison, Gillian. "From Cannibalism to Genocide: The Work of Denial." Journal of Interdisciplinary History 37, no. 3 (January 2007): 395–414. http://dx.doi.org/10.1162/jinh.2007.37.3.395.

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In Cannibal Talk, Gananath Obeyesekere sets out to expose cannibalism as racist slander and anthropologists' perpetuation of a mistaken sense of “identity.” In the very act of denying its existence, however, he employs it as sheep's clothing for the beast of genocide and other atrocities, implying that they, too, can be classified as slander or treated as aberrations outside the bounds of social rules or analysis. In claiming to deconstruct centuries of falsehood and defamation, Obeyesekere paradoxically opens the door to revising real crimes-the global horrors that he compares with cannibalism-lending them the same aura of unreality.
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Vilhjálmsson, Björn Þór. "„Taumlaust blóðbað án listræns tilgangs“: Íslenski bannlistinn og Kvikmyndaeftirlit ríkisins." Íslenskar kvikmyndir 19, no. 2 (October 24, 2019): 69–133. http://dx.doi.org/10.33112/ritid.19.2.4.

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The regulation of film exhibition in Iceland has closely shadowed the history of cinema exhibition itself. Although regulation practices have undergone various shifts and realignments throughout the twentieth century, they retained certain core concerns and a basic ideological imperative having to do with child protection and child welfare. Movies were thought to have a disproportionate impact on children, with „impressionable minds“ often being invoked. Their interior lives and successful journey towards maturity were put at risk each and every time they encountered unsuitable filmic materials. Thus, while assuming that adults could fend for them-selves among the limited number of theaters in Reykjavík, children were a whole another matter and required protection. Civic bodies were consequently formed and empowered to evaluate and regulate films. But even in the context of fairly rigorous surveillance and codification, the turn taken by regulatory authorities in the 1980s strikes one as exceptional and unprecedented. The Film Certification Board (TFCB) was, for the first time, authorized to prohibit and suppress from distribution films deemed especially malignant and harmful. Motivating this vast expansion of the powers of the regulatory body were concerns about a variety of exploitation and horror films that were being distributed on video, films that were thought to transgress so erroneously in terms of on-screen violence that their mere existence posed a grave threat to children. Two years after finding its role so radical-ly enlarged, TFCB put together a list of 67 „video-nasties“, to borrow a term from the very similar but later moral panic that occurred in Britain. Police raids were conducted and every video store in the country was visited in a nation-wide effort to remove the now illegal films from rental stores. This article posits that the icelandic nasties list can be viewed as something of a unique testament to the extent to which the meaning, aesthetic coherence and the affect of cultural objects is constructed in the process of reception, while also main-taining that the process of reception is thoroughly shaped by historical discourses, social class, embedded moral codes and a social system of values, as well as techno-logical progress. in what amounts to a perfect storm of moralizing, political games-manship and the sheer panic of a certain segment of the population, the governing institutions in iceland managed in the span of months to overturn constitutionally protected rights to free speech and privacy, as well as undermine central principles of the republic. Two decades would pass before these setbacks were recuperated, and then only on a legal and institutional level. While analyzing the history of the icelandic video nasties, the article also attempts to grapple with and articulate the symbolic register of the ban, how it speaks to the status of cinema in Iceland at the close of the twentieth century, and what ideological strains, morals and/or values were being put into play and funneled into this particular debate. Then, to close, the role of the most notorious of the nasties, Cannibal Holocaust (Ruggero Deodato, 1980), is examined in the context of media coverage and parliamentary debates at the time.
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Martens, Emiel. "The 1930s Horror Adventure Film on Location in Jamaica: ‘Jungle Gods’, ‘Voodoo Drums’ and ‘Mumbo Jumbo’ in the ‘Secret Places of Paradise Island’." Humanities 10, no. 2 (March 29, 2021): 62. http://dx.doi.org/10.3390/h10020062.

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In this article, I consider the representation of African-Caribbean religions in the early horror adventure film from a postcolonial perspective. I do so by zooming in on Ouanga (1935), Obeah (1935), and Devil’s Daughter (1939), three low-budget horror productions filmed on location in Jamaica during the 1930s (and the only films shot on the island throughout that decade). First, I discuss the emergence of depictions of African-Caribbean religious practices of voodoo and obeah in popular Euro-American literature, and show how the zombie figure entered Euro-American empire cinema in the 1930s as a colonial expression of tropical savagery and jungle terror. Then, combining historical newspaper research with content analyses of these films, I present my exploration into the three low-budget horror films in two parts. The first part contains a discussion of Ouanga, the first sound film ever made in Jamaica and allegedly the first zombie film ever shot on location in the Caribbean. In this early horror adventure, which was made in the final year of the U.S. occupation of Haiti, zombies were portrayed as products of evil supernatural powers to be oppressed by colonial rule. In the second part, I review Obeah and The Devil’s Daughter, two horror adventure movies that merely portrayed African-Caribbean religion as primitive superstition. While Obeah was disturbingly set on a tropical island in the South Seas infested by voodoo practices and native cannibals, The Devil’s Daughter was authorized by the British Board of Censors to show black populations in Jamaica and elsewhere in the colonial world that African-Caribbean religions were both fraudulent and dangerous. Taking into account both the production and content of these movies, I show that these 1930s horror adventure films shot on location in Jamaica were rooted in a long colonial tradition of demonizing and terrorizing African-Caribbean religions—a tradition that lasts until today.
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Phillips, Gyllie. "Cannibals and Capital: George King'sSweeney Todd(1936) and Representations of Class, Empire and Wealth." Journal of British Cinema and Television 15, no. 4 (October 2018): 571–88. http://dx.doi.org/10.3366/jbctv.2018.0443.

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The story of Sweeney Todd has its origins in the era of Victorian stage melodrama, a form with well-documented connections to critiques of Victorian class structures and economic hardship. As well, the musical versions of the story by Stephen Sondheim and Hugh Wheeler (1979), including the 2007 film by Tim Burton, have been identified with anti-capitalist sentiment. In all the discussions of Sweeney Todd and class, however, surprisingly little scholarly attention is paid to the first sound film version of the story, which appeared in Britain at the height of the economic crisis of the 1930s: Sweeney Todd: The Demon Barber of Fleet Street (1936), directed by George King and starring Tod Slaughter. The King-Slaughter collaborations converting Victorian stage melodramas to screen were part of the body of 1930s films identified as ‘quota quickies’, which have been characterised as cheap and badly made. Scholars such as Rachel Low and, more recently, David Pirie dismissed the quota quickies as films unworthy of close attention, but this article joins the revisionist trend that takes issue with these judgements both of 1930s quota quickies and the films of King and Slaughter. King's Sweeney Todd responds to the bleak economic experience and anxieties of its audiences through its narrative and generic changes to its Victorian precursors, as well as through its limited but creative uses of film form. Specifically, King's film challenges the idea of the naturalised authority of the wealthy, questions the origins of wealth and the function of labour, and transforms the abject body of the horror genre into a metaphor for the circulation of capital.
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Dissertations / Theses on the topic "Cannibal horror"

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Ryan, Christopher James. "Hunks of Meat: Homicidal Homosociality and Hyperheteronormativity in Cannibal Horror." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1343086134.

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Books on the topic "Cannibal horror"

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Petit, Richard. Le prof cannibale. [Terrebonne, Québec]: Boomerang éditeur jeunesse, 2003.

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Le prof cannibale. Montréal: Presses d'or, 1997.

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Maxime, Lachaud, ed. Reflets dans un œil mort: Mondo movies et les films de cannibales. Paris: Bazaar, 2010.

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Cesare, Adam. Tribesmen: A Novella of Supernatural Cannibal Horror. Black T-Shirt Books, 2019.

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Rupert Wong, Cannibal Chef. Oxford, UK: Abaddon Books, 2015.

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Waddell, Calum. Cannibal Holocaust. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325116.001.0001.

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This book is one of the most controversial horror films ever made. Despite not achieving huge success when it was first released, the Italian production found an audience on home video in the 1980s and became a 'must-see' for connoisseurs of extreme cinema. Indeed, Cannibal Holocaust's foremost legacy is in the United Kingdom, where it obtained its reputation as one of the most harrowing and offensive 'video nasties' — a term used to refer to a group of films deemed to be 'obscene' by the Department of Public Prosecutions. However, as the years have progressed, Cannibal Holocaust has been re-evaluated, mainly as the forefather of the 'found footage' film, and recent home video re-releases have added some valuable perspective to the onscreen violence with extensive cast and crew interviews. What is missing from this contemporary activity is contextualization of Cannibal Holocaust's style, affirmation and discussion of its locations and any extensive discourse about its representation of third world inhabitants (i.e. as 'primitives'). In addition, and also amiss from previous dialogue on the production, is that Cannibal Holocaust can be seen as one of the key post-Vietnam films. It is the spectre of war — and an explicit warning about Western involvement in civil conflict — which progresses Deodato's story of jungle adventurers in peril. By approaching the film from a more formalist position, this book provides an insightful discussion of this groundbreaking film.
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Cannibal Holocaust: The Savage Cinema of Ruggero Deodato. FAB Press, 2011.

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Cannibal Holocaust and the Savage Cinema of Ruggero Deodato. FAB Press, 1999.

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Secret Keeper: Pursuit of the Cannibals. Wheatmark, Inc., 2012.

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Book chapters on the topic "Cannibal horror"

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HUGGAN, GRAHAM. "GHOST STORIES, BONE FLUTES, CANNIBAL COUNTERMEMORY." In The Horror Reader, 352–63. Routledge, 2002. http://dx.doi.org/10.4324/9780203138618-28.

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"7. Cannibal Hillbillies and Backwoods Horror." In The Monster Always Returns, 183–210. transcript-Verlag, 2017. http://dx.doi.org/10.14361/9783839437353-010.

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Waddell, Calum. "Reality in Cannibal Holocaust." In Cannibal Holocaust, 67–84. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325116.003.0004.

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This chapter reviews how Ruggero Deodato'sCannibal Holocaust follows in the tradition of mondo and exotic cinema. It illustrates how Cannibal Holocaust presents the viewer with a purportedly genuine 'reality', such as unsimulated animal slaughter, actual locations, and newsreel atrocity footage. It also analyses the fictionalisation of location, native lifestyles, and historical images in Cannibal Holocaust. The chapter discusses the harrowing execution footage of Cannibal Holocaust's 'Last Road to Hell' sequence, which shows its vast use of visual misinformation. It looks at the misappropriation of third world horror that is attributed to a perceived postcolonial European 'superiority' in which all conflicts in developing nations are viewed as indicative of an exotic sense of anarchy.
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Flockhart, Louise. "Gendering the Cannibal in the Postfeminist Era." In Gender and Contemporary Horror in Film, 67–81. Emerald Publishing Limited, 2019. http://dx.doi.org/10.1108/978-1-78769-897-020191006.

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Bernard, Mark. "‘The Only Monsters here are the Filmmakers’: Animal cruelty and death in Italian Cannibal Films." In Italian Horror Cinema, 191–206. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748693528.003.0013.

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Many contemporary horror filmmakers pride themselves on violating taboos in their films, especially taboos concerning violence. However, there is a line that even many of the most hardened filmmakers refuse to cross: violence against animals. In fact, some horror filmmakers have spoken out against animal abuse. For instance, heavy metal musician-turned-horror filmmaker Rob Zombie… teamed up with the organisation People for the Ethical Treatment of Animals (PETA) in 2007 to record a message for their ‘Thanksgiving Hotline’, a ‘compassionate alternative’ to the Butterball Turkey Talk Line that offers tips on turkey preparation. Zombie is a self-described ‘ethical vegetarian’ and as such his contribution details the cruelty and mistreatment to which turkeys are subjected in Butterball’s factory farms (PETA, 2007). In 2009 another horror filmmaker, Eli Roth, director of the Hostel films (2006–7), appeared in a promotional spot for PETA.
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Noto, Paolo. "Italian Horror Cinema and Italian Film Journals of the 1970s." In Italian Horror Cinema, 207–21. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748693528.003.0014.

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This chapter will focus on the domestic reception of Italian horror cinema in journals and magazines during the 1970s in order to begin a process of understanding the ways in which the genre was valued, discussed and (less commonly) analysed by Italian critics of the period. Although Italian horror in general has been subject to a considerable amount of scholarship, in fact, little has been written (in English, but also in Italian) about the criticism it aroused, and the way it was used by Italian critics to deal with genres and popular cinema. Given the entire history of Italian horror, the decision to focus on the 1970s is not casual and merits some preliminary contextualisation. Compared with the previous decade, which witnessed the blossoming of Bava, Ferroni, Freda and Margheriti’s gothic genre, and the subsequent one, which accompanied the work of Dario Argento as a director and a producer of both his and others’ films, the brief but intense season of the cannibal movie and the exploitation films of directors like Fulci, Massaccesi and Lenzi, the 1970s were relatively ‘empty’.
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Wiegand, Erin. "Who Can Be Eaten? Consuming Animals and Humans in the Cannibal-Savage Horror Film." In What’s Eating You?, 253–68. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781501322402_ch-015.

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Dooley, Kath. "Navigating the Mind/body Divide: The Female Cannibal in French Films Grave (Raw, 2016), Dans ma peau (In My Skin, 2002) and Trouble Every Day (2001)." In Gender and Contemporary Horror in Film, 53–66. Emerald Publishing Limited, 2019. http://dx.doi.org/10.1108/978-1-78769-897-020191005.

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