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Books on the topic 'Thriller film'

Author: Grafiati

Published: 24 April 2022

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1

Frank, Alan G. The thriller film guide. B. T. Batsford, 1997.

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2

Luca, Servini, ed. Thriller italiano in cento film. Le mani, 2011.

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3

See©len, Georg. Thriller: Kino der Angst. Schuren, 1995.

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4

Writing the thriller film: The terror within. M. Wiese Productions, 2002.

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5

Writing the thriller film: The terror within. M. Wiese Productions, 2002.

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6

Donne in prigione: Nazisti, horror e fantascienza, thriller, decameroni e film esotici. Profondo rosso, 2005.

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7

Psyco & Psycho: Genesi, analisi e filiazioni del thriller più famoso della storia del cinema. Le mani, 2010.

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8

The suspense thriller: Films in the shadow of Alfred Hitchcock. McFarland, 1988.

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9

Martin, Rubin. Thrillers. Cambridge University Press, 1999.

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10

Nixdorf, Thomas. Licence to thrill: James Bond Plakate, 1962-1997. PlakatKonzepte, 1997.

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11

Les Fils du dragon vert: Thriller. Éditions Ramsay, 2004.

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12

John, McCarty. Thrillers: Seven decades of classic film suspense. Carol Pub. Group, 1992.

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13

Thrillers: Seven decades of classic film suspense. Citadel Press, 1992.

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14

Make your own action thriller. Capstone Press, 2012.

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15

Withers, John. Hell, a cyberpunk thriller: The official strategy guide. Prima Pub., 1995.

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16

Ekeroth, Daniel. Swedish sensationsfilms: [a clandestine history of sex, thrillers, and kicker cinema]. Bazillion Points, 2011.

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17

Cinematic emotion in horror films and thrillers: The aesthetic paradox of pleasurable fear. Routledge, 2010.

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18

Hanich, Julian. Cinematic emotion in horror films and thrillers: The aesthetic paradox of pleasurable fear. Routledge, 2010.

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19

Stoker, Bram. Dracula: Authoritative text, contexts, reviews and reactions, dramatic and film variations, criticism. W.W. Norton, 1997.

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20

Auerbach, Nina, and David J. Skal, eds. Dracula: An Authoritative Text, Contexts, Reviews and Reactions, Dramatic and Film Variations, Criticism. W.W. Norton & Co., 1997.

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21

Leigh, Janet. Psycho: Behind the Scenes of the Classic Thriller. Pavilion, 1995.

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22

Leigh, Janet. Psycho: Behind the scenes of the classic thriller. Harmony Books, 1995.

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23

Deighton, Len. The Ipcress File. HarperCollins, 2009.

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24

Deighton, Len. The Ipcress file. Grafton, 1987.

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25

Bromme, Bettina. Gone Mad: A Film Thriller. Av Edition Gmbh, 2000.

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26

Frank, Alan. Frank's 500: The Thriller Film Guide. B.T. Batsford, 1998.

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27

The Y2K File (Film). The Edge Press/Mnemonics, 2011.

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28

Kubrick's Game: Puzzle-Thriller for Film Geeks. Evolved Publishing, 2016.

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29

Kubrick's Game: Puzzle-Thriller for Film Geeks. Evolved Publishing, 2016.

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30

Derry, Charles. The Suspense Thriller: Films in the Shadow of Alfred Hitchcock (Film). McFarland & Company, 2001.

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31

Enrico, Lancia, and Poppi Roberto 1947-, eds. Gialli, polizieschi, thriller: Tutti i film italiani dal 1930 al 2000. Gremese, 2004.

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32

Adler-Olsen, Jussi. Erbarmen: Ein Fall für Carl Mørck, Sonderdezernat Q Thriller / Buch zum Film. dtv Verlagsgesellschaft, 2014.

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33

Pessl, Marisha. Night Film. Penguin Random House, 2014.

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34

Night Film. Random House, 2013.

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35

Pessl, Marisha. Night Film. Penguin Random House, 2013.

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36

Pessl, Marisha. Night Film: A novel. Random House Trade Paperbacks, 2014.

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37

Thomson, David. Attending the Tale of. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0018.

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This chapter examines Tim Burton’sSweeney Todd, a film adaptation of Stephen Sondheim’s award-winning musical thriller. In direct opposition to Sondheim’s opinion that this is the best, mostfilmicfilm version of a stage musical ever made it argues that Burton’s powerful deployment of the visual possibilities of cinemaalters the grand guignol of the stage musical with its direct address to the audience, to create a more attractive and conventional view of the two psychologically introspective protagonists who fail to evoke the grotesque and demonic force of their more convincingly melodramatic stage counterparts. By analysing Burton’s exploitation of the screen presence of Johnny Depp and Helena Bonham-Carter, the chapteridentifies the contradictions resulting from the director’s attempt to position the film within the genre of such classic screen thrillers asPsycho.

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38

Bench, Harmony. Monstrous Belonging. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.025.

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This chapter begins by reviewing the importance of Michael Jackson’s early forays in music video, paying particular attention to the short film, “Michael Jackson’s Thriller” from 1983. Jackson’s monstrosity and Ola Ray’s victimization in this film are addressed. This chapter then turns to recent adaptations and performances of “Thriller,” arguing that as a choreography, “Thriller” became a privileged site for articulating a collective sense of belonging in the early twenty-first century. In an era that amplified American insecurity and paranoia, performances of “Thriller” circulating through social media show how performers used the choreography to embody monstrosity, domesticate fear, dissipate threat, form an American public outside nationalist discourses, and resignify public spaces rendered threatening by the “War on Terror.”

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39

Gandini, Leonardo. Brian de Palma: Du thriller psychanalytique au pur film d'action, la carrière éclectique d'un réalisateur toujours controversé. GREMESE, 2002.

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40

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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41

Ira, Levin. The Stepford Wives (Bloomsbury Film Classics S.). Bloomsbury, 1998.

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42

Harris, Thomas. Hannibal. Buch zum Film. Heyne, 2001.

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43

Cooper, L. Andrew. Dario Argento. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037092.003.0001.

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This book explores the extreme violence that pervades Dario Argento's films, and particularly the ways in which they push the limits of visual and auditory experience by offending, confusing, sickening, and baffling the viewers. It looks at Argento's approach to his work over more than four decades of filmmaking, and his commitment to innovation that is evident in two closely related genres whose disturbing violence reaches previously unrecorded levels of pain, suffering, and mental anguish: crime thriller and supernatural horror. From his directorial debut, The Bird with the Crystal Plumage (1970), to Giallo (2009), Argento's films challenge a viewer's accepted ideas about film spectatorship, meaning, storytelling, and genre. This book also looks at the centrality of collaboration, particularly with family, in Argento's work by analyzing sixteen films that feature him as writer and director. Finally, it discusses how Argento's films function as rhetorical interventions against dominant views on film criticism, interpretation, narrative, and conventions through an examination of interpretive possibilities that connect the films to broader tendencies in film history.

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44

Sexy Thrills: Undressing the Erotic Thriller. University of Illinois Press, 2007.

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45

Sexy Thrills: Undressing the Erotic Thriller. University of Illinois Press, 2007.

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46

Roter drache: Roman zum film. Heyne, 2002.

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47

Ercolani, Eugenio, and Marcus Stiglegger. Cruising. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348363.001.0001.

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When William Friedkin’s psycho thriller Cruising was shown at the Berlin International Film Festival and hit cinemas worldwide in 1980 it was mainly misunderstood: the upcoming gay scene dismissed it as an offence to their efforts to open up to society and a distorted image of homosexuality, prompting the distributors to add a disclaimer that preceded the picture: Genre audiences were confused about the idea of a sexualized cop thriller with procedural drama that frequently turns into a horror film with the identity of the killer changing with each murder. Seen from today’s perspective, Friedkin’s film turned out to be an enduring cult classic documenting the gay leather scene of the late 1970s as well as providing a stunning image of identity crisis and an examination of male sexuality in general. In the fading years of the New Hollywood era (1967–1976), William Friedkin—the ‘New Hollywood Wunderkind’, with an Academy Award for his cop drama, The French Connection (1971), and following the tremendous success of his horror film, The Exorcist (1973)—proves once more the strength of his unique approach in combining genre and auteur cinema to create a fascinating film that turns 40 in 2020. This book dives into the phenomenon that is Cruising: it examines its creative context and its protagonists, as well as explaining its ongoing popularity.

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48

Morwood, Carolyn. The Blessing File: A Lyn Blessing Crime Thriller (Lyn Blessing Crime Thrillers). Women's Press, Limited, The, 1999.

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49

100 greatest films: Thriller. Radio Times, 2009.

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50

Closer to the Sun. The Edge Press/Mnemonics, 2011.

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