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Books on the topic 'Slasher film'

Author: Grafiati

Published: 24 April 2022

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1

Clayton, Wickham, ed. Style and Form in the Hollywood Slasher Film. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137496478.

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2

Blood money: A history of the first teen slasher film cycle. New York: Continuum, 2011.

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3

Nowell, Richard. Blood money: A history of the first teen slasher film cycle. New York: Continuum, 2011.

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4

Rockoff, Adam. Going to pieces: The rise and fall of the slasher film, 1978-1986. Jefferson, N.C: McFarland & Co., 2002.

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5

Rockoff, Adam. Going to pieces: The rise and fall of the slasher film, 1978-1986. Jefferson, N.C: McFarland & Co., 2002.

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6

Life lessons from slasher films. Lanham: Scarecrow Press, Inc., 2012.

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7

Slasher films: An international filmography, 1960 through 2001. Jefferson, N.C: McFarland & Co., 2003.

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8

Final girl: L'eroina dell'horror e dello slasher. Roma: Aracne editrice, 2013.

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9

Bradley, Sarah. Slackers, slashers and sticklers: Hollywood films and audience reception. St. Catharines, Ont: Brock University, Dept. of Communications, Popular Culture and Film, 2006.

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10

Punk slash! musicals: Tracking slip-sync on film. Austin: University of Texas Press, 2010.

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11

Laderman, David. Punk slash! musicals: Tracking slip-sync on film. Austin: University of Texas Press, 2010.

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12

Rovin, Jeff. April fool's day. London: Corgi, 1986.

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13

Rovin, Jeff. April Fool's Day: A Novel. New York, New York, USA: Pocket, 1986.

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14

Chromatic. Running weblogs with Slash. Sebastopol, CA: O'Reilly, 2002.

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15

Style and form in the Hollywood slasher film. 2015.

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16

Clayton, Wickham. Style and Form in the Hollywood Slasher Film. Palgrave Macmillan, 2014.

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17

Petridis, Sotiris. Anatomy of the Slasher Film: A Theoretical Analysis. McFarland & Company, Incorporated Publishers, 2019.

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18

Legacy of Blood: A Comprehensive Guide to Slasher Movies. Critical Vision, 2004.

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19

Going to Pieces: The Rise and Fall of the Slasher Film, 1978-1986. McFarland, 2016.

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20

Rockoff, Adam. Going to Pieces: The Rise and Fall of the Slasher Film, 1978-1986. McFarland & Company, Incorporated Publishers, 2011.

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21

Clasen, Mathias. Monsters Everywhere. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190666507.003.0006.

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The chapter gives an outline of the history of American horror across media, from prehistoric roots to postmodern slasher films and horror videogames. A specifically American literary horror tradition crystallizes in the mid-1800s, with authors such as Edgar Allan Poe, and is developed in the twentieth century by writers including H. P. Lovecraft. In that century, horror films—beginning with Universal’s monster films of the 1930s—became the dominant medium for the genre. Horror became a mainstream genre during the 1970s and 1980s, with the emergence of popular writers like Stephen King and many lucrative film releases. Slasher films dominated the 1980s and were reinvented in a postmodern version in the 1990s. Horror videogames became increasingly popular, offering high levels of immersion and engagement. The chapter shows that horror changes over time, in response to cultural change, but changes within a possibility space constrained by human biology.

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22

Bettinson, Gary. Sympathy for the Slasher: Strategies of Character Engagement in Pang Ho-cheung’s Dream Home. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0012.

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Pang Ho-cheung’s Dream Home (2010) is a controversial Hong Kong slasher movie in which a killer (played by Josie Ho) constitutes the prime object of spectator sympathy and allegiance. To its detractors, the film falls foul of an “aesthetic error”: by presenting the heroine’s victims as “undeserving” of brutalization, Dream Home inadvertently undercuts its own attempt to generate sympathy for the slasher protagonist. This paper attempts to dispute the critics’ charge of aesthetic defectiveness, arguing instead that the film’s strategies of character engagement purposively foster a critique of Hong Kong’s capitalist hegemony. More broadly, the paper tries to demonstrate the ways in which Dream Home is a specifically Hong Kong horror film. This discussion is situated within wider debates concerning the imputed loss of Hong Kong “localism” in the context of global forces such as Mainlandization and Hollywoodization.

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23

West, Steven. Scream. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325277.001.0001.

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Wes Craven's Scream (1996) emerged at the point where the early Eighties American slasher cycle had effectively morphed into the post-Fatal Attraction trend for Hollywood thrillers that incorporated key slasher movie tropes. Scream emerged as a spiritual successor to Wes Craven's unpopular but critically praised previous film New Nightmare (1994), which evolved from his frustration at having lost creative control over his most popular creation, Freddy Krueger, and rebirthed the character in a postmodern context. Scream appropriates many of the concepts, conceits, and in-jokes inherent in New Nightmare, albeit in a much more commercial context that did not alienate teenage audiences who were not around to see the movies that were being referenced. This book offers a full exploration of Scream, including its structure, its many reference points (such as the prominent use of Halloween as a kind of sacred text), its marketing (“the new thriller from Wes Craven” — not a horror film), and legacy for horror cinema in the new millennium.

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24

Leeder, Murray. Halloween. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733797.001.0001.

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The 1970s represented an unusually productive and innovative period for the horror film, and John Carpenter's Halloween (1978) is the film that capped that golden age — and some say ruined it, by ushering in the era of the slasher film. Considered a paradigm of low-budget ingenuity, its story of a seemingly unremarkable middle-American town becoming the site of violence on October 31 struck a chord within audiences. The film became a surprise hit that gave rise to a lucrative franchise, and it remains a perennial favourite. Much of its success stems from the simple but strong constructions of its three central characters: brainy, introverted teenager Laurie Strode, a late bloomer compared to her more outgoing friends, Dr. Loomis, the driven, obsessive psychiatrist, and Michael Myers, the inexplicable, ghostlike masked killer. This book offers a bold and provocative study of Carpenter's film, which hopes to expose qualities that are sometime effaced by its sequels and remakes. It explores Halloween as an unexpected ghost film, and examines such subjects as its construction of the teenager, and the relationship of Halloween the film to Halloween the holiday, and Michael Myers's brand of ‘pure evil’.

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25

Clasen, Mathias. Hack n’ Slash. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190666507.003.0012.

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John Carpenter’s Halloween (1978) kicked off the slasher film wave with its disturbing depiction of Michael Myers’s killing spree in a small American town. This chapter argues that Halloween’s emotional and imaginative power has its wellspring in human nature. The film’s horror scenario—the threat of being killed by another human—reflects an evolutionarily ancient hazard, one that has left deep traces in our constitution. Conspecific predation has been a constant danger of social life for millions of years, and the film effectively evokes that danger in a contemporary setting. Halloween gets its power from depicting, and aligning audiences with, likeable and peaceful characters in quiet and safe suburbia, which is suddenly infested with a homicidal agent, Michael Myers, who is simultaneously subhuman and superhuman. Myers became a horror icon because he is a supercharged representation of an ancient danger, a hostile conspecific outside rational reach.

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26

Clayton, Wickham. SEE! HEAR! CUT! KILL! University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830319.001.0001.

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SEE! HEAR! CUT! KILL!: Experiencing Friday the 13^th, is the first book entirely devoted to the analysis of the Friday the 13 ^th franchise. The story a film tells is usually filtered through a particular perspective, or point of view. This book argues that slasher films, and the Friday the 13^th movies particularly, use all the stylistic tools at their disposal to create a complex and emotionally intense approach to perspective, which develops and shifts across the decades. Chapter one discusses the history of perspective in horror, and the different critical conversations around this. Chapter two looks at the use of camerawork, specifically point-of-view camerawork in the way these films visually communicate perspective. The fourth chapter talks about the way sound and editing work together to communicate perspective and experience in the death sequences these movies capitalize upon. The fourth chapter considers the perspective of viewers, and how each movie speaks to viewers who are either familiar or unfamiliar with the ongoing story in the series. The final chapter first explains how these trends look across a chronological timeline, and what this tells us about the historical development of perspective before looking at the influence these stylistic approaches have had on ‘serious’ film, particularly those recognized by the Hollywood critical establishment.

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27

Whitehead, Mark. Slasher Movies. Pocket Essentials, 2001.

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28

Armstrong, Kent Byron. Slasher Films: An International Filmography, 1960 Through 2001. McFarland & Company, 2009.

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29

The Mammoth Book Of Slasher Movies. Running Press Book Publishers, 2012.

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30

Laderman, David. Punk Slash! Musicals: Tracking Slip-Sync on Film. University of Texas Press, 2011.

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31

Horror Films Faq All Thats Left To Know About Slashers Vampires Zombies Aliens And More. Hal Leonard Corporation, 2013.

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32

King, Sharon. From slasher's final-girl to rape revenge's victim-hero: A study of female representation in the modern horror film. 1997.

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