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Books on the topic 'Cinema de terror'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Drums of terror: Voodoo in the cinema. Baltimore, MD: Midnight Marquee Press, 1998.

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2

Rigby, Jonathan. Studies in terror: Landmarks of horror cinema. Cambridge: Signum Books, 2011.

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3

Devouring whirlwind: Terror and transcendence in the cinema of cruelty. New York: Greenwood Press, 1988.

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4

Horror after 9/11: World of fear, cinema of terror. Austin: University of Texas Press, 2011.

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5

Rockett, WillH. Devouring whirlwind: Terror and transcendence in the cinema of cruelty. New York: Greenwood, 1988.

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6

Golden horrors: An illustrated critical filmography of terror cinema, 1931-1939. Jefferson, N.C: McFarland, 1996.

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7

O'Riley, Michael F. Cinema in an age of terror: North Africa, victimization, and colonial history. Lincoln: University of Nebraska Press, 2010.

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8

Cinema in an age of terror: North Africa, victimization, and colonial history. Lincoln: University of Nebraska Press, 2010.

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9

O'Riley, Michael F. Cinema in an age of terror: North Africa, victimization, and colonial history. Lincoln: University of Nebraska Press, 2010.

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10

Magnarapa, Giuseppe. I volti della paura: Psicopatologia del cinema del terrore. Firenze: Firenze libri, 1998.

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11

Colombo, Maurizio. Lo schermo insanguinato: Il cinema italiano del terrore, 1957-1989. Chieti: M. Solfanelli, 1990.

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12

Curci, Loris. 35 millimetri di terrore: Guida al cinema horror 1980-1990. Chieti [Italy]: Marino Solfanelli, 1992.

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13

Baird, David. Monstruos de película. Madrid: Pearson Educación, 2006.

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14

Sidney, Poger, ed. Poe's children: Connections between tales of terror and detection. New York: Peter Lang, 1999.

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15

Semprebene, Roberto. La terra trema: Prove tecniche del compromesso storico? : rapporti tra cinema e politica nel secondo dopoguerra. Cantalupa (Torino): Effatà, 2009.

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16

La terra trema: Prove tecniche del compromesso storico? : rapporti tra cinema e politica nel secondo dopoguerra. Cantalupa (Torino): Effatà, 2009.

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17

História e cinema: Sertão e redenção em "Deus e o diabo na terra do sol". São Paulo, SP, Brasil: Annablume, 2011.

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18

Carroll, Noël. The philosophy of horror, or, Paradoxes of the heart. New York: Routledge, 1990.

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19

Ryan, Mark. Terror Australis: Australian Horror Cinema. Palgrave Macmillan, 2021.

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20

Elsaesser, Thomas. German Cinema - Terror and Trauma. Routledge, 2013. http://dx.doi.org/10.4324/9781315885643.

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21

Turner, George E. Cinema of Adventure, Romance and Terror. Asc Press, 1998.

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22

Philip, Hayward, ed. Terror tracks: Music, sound and horror cinema. London: Equinox, 2009.

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23

Philip, Hayward, ed. Terror tracks: Music, sound and horror cinema. Oakville, CT: Equinox, 2008.

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24

Bennett, Bruce. Cinema of Michael Winterbottom: Borders, Intimacy, Terror. Columbia University Press, 2013.

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25

Philip, Hayward, ed. Terror tracks: Music, sound and horror cinema. London: Equinox, 2009.

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26

The Cinema Of Michael Winterbottom Borders Intimacy Terror. Columbia University Press, 2014.

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27

The Cinema Of Michael Winterbottom Borders Intimacy Terror. Columbia University Press, 2013.

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28

Conrich, Ian, and David Woods. Cinema of John Carpenter: The Technique of Terror. Columbia University Press, 2005.

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29

German Cinema Terror And Trauma Cultural Memory Since 1945. Taylor & Francis Ltd, 2013.

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30

German Cinema Terror And Trauma Cultural Memory Since 1945. Taylor & Francis Ltd, 2013.

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31

Rockett, William Henry. The savage cinema: transcendence in the film of terror. 1988.

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32

Ian, Conrich, and Woods David, eds. The cinema of John Carpenter: The technique of terror. London: Wallflower Press, 2004.

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33

Horror after 9/11: World of Fear, Cinema of Terror. University of Texas Press, 2012.

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34

Senn, Bryan. Golden Horrors: An Illustrated Critical Filmography of Terror Cinema, 19311939. McFarland & Company, Inc., Publishers, 2006.

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35

Sykes, Brad. Terror in the Desert: Dark Cinema of the American Southwest. McFarland & Company, Incorporated Publishers, 2018.

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36

The Cinema of John Carpenter: The Technique of Terror (Directors' Cuts). Wallflower Press, 2005.

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37

(Editor), Ian Conrich, and David Woods (Editor), eds. The Cinema of John Carpenter: The Technique of Terror (Directors' Cuts). Wallflower Press, 2005.

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38

1925-, Turner George, and Behlmer Rudy, eds. The Cinema of adventure, romance & terror: From the archives of American cinematographer. Hollywood, Calif: ASC Press, 1989.

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39

Donnar, Glen. Troubling Masculinities. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828576.001.0001.

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The association of the attacks of 9/11 with Hollywood science fiction and disaster spectacle was immediate and pervasive. Succeeding calls in media and politics for the reassuring return of ‘strong’ masculine types—predominantly drawn from Hollywood westerns, action and war films—were widespread, revealing renewed cultural fears of threats to America from both within and without.Troubling Masculinities is the first dedicated multi-genre study of representations of masculinity in encounters with terror in post-9/11 American cinema. The book examines the impact of “terror-Others”, from Arab terrorists to giant monsters, across a broad range of sub-genres—including disaster melodrama, monster movies, post-apocalyptic science fiction, discovered footage and ‘home invasion’ horror, action-thrillers and ‘frontier’ westerns—especially in relation to cinematic representations of masculinity in previous periods of national turmoil. The book demonstrates that the supposed reassertion of masculinity and American national identity in post-9/11 cinema repeatedly unravels across genres. Engaging critical arguments about how Hollywood cinema attempts to resolve male crisis in part through Orientalizing figures of terror, he shows how this unraveling reflects an inability to effectively extinguish the threat or frightening difference of terror. The heroes in these movies are unable to heal themselves or restore order, often becoming as destructive as the threats they encounter. The book concludes by showing how interrelated anxieties about masculinity and nation continue to affect contemporary American cinema and politics. By showing how persistent these cultural fears are, Troubling Masculinities offers an important counternarrative in this supposedly unprecedented moment in American history.

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40

Jamil, Ghazala. Media Representations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199470655.003.0005.

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Chapter five is an attempt to further develop the discussion on discursive subalterneity of Muslims. Although media practices generally and Bollywood cinema specifically have been an arena for analysis pertaining to stereotyping of Muslims, I claim in this chapter that this analysis itself has got mired in stereotypical ways of seeing and analysing. Focusing on representation as a process of essentializing identity I connect this to Lefebvre’s ‘representation of space’ focusing on dominant discourses in news media and Bollywood cinema regarding Muslim localities. In second section of this chapter the role of news media in spawning the representation of Muslims and Muslim spaces as dens of criminal and terrorist activities. The reportage of various police action against Muslim publics and persons (such as the extra-judicial killings of terror suspects in Batla House) are discussed to discern the earlier noted trend of representation of space such that segregation is provided a discursive reinforcement.

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41

Mee, Laura. The Shining. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325444.001.0001.

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Taking a fresh look at The Shining (1980), this book situates the film within the history of the horror genre and examines its rightful status as one of the greatest horror movies ever made. It explores how Stanley Kubrick's filmmaking style, use of dark humour, and ambiguous approach to supernatural storytelling complements generic conventions, and it analyses the effective choices made in adapting King's book for the screen—stripping the novel's backstory, rejecting its clear explanations of the Overlook Hotel's hauntings, and emphasizing the strained relationships of the Torrance family. The fractured family unit and patriarchal terror of Kubrick's film, alongside its allusions to issues of gender, race, and class, connect it to themes prevalent in horror cinema by the end of the 1970s, and are shown to offer a critique of American society that chimed with the era's political climate as well as its genre trends. The film's impact on horror cinema and broader pop culture is ever apparent, with homages in everything from Toy Story to American Horror Story. The Shining showed that popular, commercial horror films could be smart, artistic, and original.

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42

Walker, Elsie. Funny Games. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0004.

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Having established the dominant sonic patterns of Haneke’s cinema in relation to The Seventh Continent, this chapter combines an auteur-centered approach with genre studies. More specifically, it analyzes how Funny Games disobeys sonic rules of mainstream thrillers, including: a comparative lack of non-diegetic music, few stingers to punctuate shocking moments, and an absence of sexualized sounds when the female victim resists her killer. The defamiliarizing experience of Funny Games confronts us with what it means to view violence as entertainment, especially through its uncomfortable extremes of sonic bombast (including the music of John Zorn), its terrifying use of everyday sounds, and its extended quiet around scenes of most terror and grief. Like the family of victims, we are forced into subjection by the killers who “direct” most of the film’s sounds, along with being made to experience the silent and beyond-verbal agony of its victims.

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43

Chan, Felicia. Performing (Comic) Abjection in the Hong Kong Ghost Story. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0007.

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Horror films in Hong Kong cinema have eschewed terror in favour of comedy, where supernatural beings take the form of hopping vampires, wandering spirits and underworld demons rendered in latex masks and movie slime. This chapter explores the comic presentation of these subjects in Hong Kong horror, where the self-reflexive exposure of the cinematic machinery of costume and special effects appear to put it at odds with the spectral affectivity of the Hong Kong ghost story. This chapter returns to two classic films from the mid-1980s, A Chinese Ghost Story (Tsui Hark 1987) and Rouge (Stanley Kwan 1988), films from the ‘second wave’ period long noted to carry ‘Hong Kong’ as a subject of concern in the run up to the British handover of 1997, and revisits their historical positioning in the light of more recent post-1997 incarnations such as Visible Secret (Ann Hui 2001), My Left Eye Sees Ghosts (Johnnie To 2002), and Rigor Mortis (Juno Mak 2013).

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44

Lopes, Adriana. Vocabulario Para Cinema Portugues-Ingles Ingles-Portugues (Mil & Um Termos). Special Book Services Livraria Ltd, 2004.

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45

Oliveira, Paulo Custódio de, ed. Literatura e cinema: malhas da imagem. Editora da UFGD, 2020. http://dx.doi.org/10.30612/9786599049743.

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Em tempos mais recentes, o estudo da relação entre Literatura e Cinema tem sido colocado sob a égide do termo intermidialidade. As pesquisas de renomados críticos da relação da Literatura com outras mídias traz, sem dúvida alguma, numerosas contribuições às reflexões já consolidadas pela intersemioticidade. A distinção parte de um fenômeno muito interessante de tecnicização da sociedade, levado bem ao gosto dos norte-americanos e ao arrepio dos europeus. Os textos que compõem esse livro respeitam a intermidialidade, que se preocupa com o sistema de transporte de um sentido, mesmo reconhecendo a questão da interferência desse suporte no processo de significação que ele veicula, eles ressentem-se da preocupação com a construção de uma subjetividade por meio de um processo de comparação, um diálogo que jamais abandonou a textura do pensamento.

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46

White, John. The Contemporary Western. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474427920.001.0001.

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The September 11th attacks in 2001 and the subsequent ‘War on Terror’ have had a profound effect on American cinema, and the contemporary Western reflects this situation. This book explores the various ways in which recent Westerns – Open Range (2003), The Three Burials of Melquiades Estrada (2005), The Assassination of Jesse James by the Coward Robert Ford (2007), True Grit (2010), Django Unchained (2012), The Lone Ranger (2013), The Revenant (2015), and Jane Got a Gun (2016) – reinforce a conservative myth of America exceptionalism. As a whole, the films are seen to endorse the use of extreme force in dealing with enemies and highlight the importance of defending the homeland. Placing their characters within a dark world of confusion and horror, these films reflect the United States’ post-9/11 uncertainties, and the tension between assumed civilised values and the brutality employed to defend those values. Frequently, outside forces of singular magnitude that threaten to overwhelm either the individual, or the community, or both, are defeated by the Western hero who in these films is restored to a position of mythic power from which he is able to deliver some sense of hope for the future.

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47

Deighan, Samm. M. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325772.001.0001.

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Fritz Lang's first sound feature, M (1931), is one of the earliest serial killer films in cinema history and laid the foundation for future horror movies and thrillers, particularly those with a disturbed killer as protagonist. Peter Lorre's child killer, Hans Beckert, is presented as monstrous, yet sympathetic, building on themes presented in the earlier German Expressionist horror films like The Cabinet of Dr. Caligari and The Hands of Orlac. Lang eerily foreshadowed the rising fascist horrors in German society, and transforms his cinematic Berlin into a place of urban terror and paranoia. This book explores the way Lang uses horror and thriller tropes in M, particularly in terms of how it functions as a bridge between German Expressionism and Hollywood's growing fixation on sympathetic killers in the 1940s. The book also examines how Lang made use of developments within forensic science and the criminal justice system to portray a somewhat realistic serial killer on screen for the first time, at once capturing how society in the 1930s and 1940s viewed such individuals and their crimes and shaping how they would be portrayed on screen in the horror films to come.

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48

Monstrous Children and Childish Monsters: Essays on Cinema's Holy Terrors. McFarland, 2015.

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