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Masks in Horror Cinema , livre ebook

University of Wales Press - Alexandra Heller-Nicholas

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285 pages

English

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A propos
Informations
Extrait

Description

*Rape-Revenge Films: A Critical Study McFarland 2011

* Found Footage Horror Films:

Fear and the Appearance of Reality McFarland 2014

* Suspiria Auteur Books 2015

* Ms. 45 Columbia University Press/ 2017

Wallflower

* The Hitcher Arrow Books 2018

1000 Women in Horror Bear Manor Media 2019 (forthcoming)

Editor of the following collections:

- Wonderland (Thames & Hudson/Australian Centre for the Moving Image)

Co-edited with Emma McRae, 2018

- Cattet & Forzani (Queensland Film Festival)

Co-edited with John Edmond, 2018.

- Routledge Handbook of Interdisciplinary Research Methods (Routledge)

Co-edited with Celia Lury, Rachel Fensham, Sybille Lammes, Angela Last, Mike Michael, and Emma Uprichard, 2018.

- ReFocus: The Films of Elaine May (Edinburgh University Press)

Co-edited with Dean Brandum. Due for July 2019 release.

Book Chapters (Selected)

- "Anti-Auteur: The Films of Roberta Findlay", in The Routledge Companion to Cult Cinema, edited by Ernest Mathjis and Jamie Sexton. London: Routledge (Forthcoming)

- "New Media Horror: Marble Hornets (2009 - 2014)", in The Horror Reader, edited by Simon Bacon. Berg Publishing (Forthcoming).

- "Chaos Made Flesh: Mr Sardonicus (1961) and the Mask as Transformative Device." In ReFocus: The Films of William Castle, edited by Murray Leeder. Edinburgh: Edinburgh University Press (Forthcoming).

- "Elaine May as Actor: On-Screen Performance and Embodied Collaboration", in ReFocus: The Films of Elaine May. Edinburgh University Press (UK). (Forthcoming).

- "Dangerous Business - The Life, Death and Rebirth of Ishtar (Elaine May, 1987)", in ReFocus: The Films of Elaine May. Edinburgh University Press (UK). Co-written with Dean Brandum. (Forthcoming).

- "The Omnipresent Alice", in Wonderland: Alice in Wonderland in Film, edited by Emma McRae and Alexandra Heller-Nicholas. Australian Centre for the Moving Image/Thames & Hudson. (Forthcoming).

- "Marilyn Manson’s Unmade Phantasmagoria: The Visions of Lewis Carroll", in Wonderland: Alice in Wonderland in Film, edited by Emma McRae and Alexandra Heller-Nicholas. Australian Centre for the Moving Image/Thames & Hudson. (Forthcoming).

- "Making and Assembling: Towards a Conjectural Paradigm for Interdisciplinary Research" in The Routledge Handbook of Interdisciplinary Research Methods, edited by Celia Lury. Co-written with Rachel Fensham. London: Routledge. (Forthcoming).

- "Seductive Kindness: Power, Space and ‘Lesbian’ Vampires". In Letting the Wrong One In: Hospitality, Rape and Consent in Vampire Popular Culture, edited by David Baker, Stephanie Green, Agnieszka Stasiewicz-Bieńkowska. London: Palgrave, 2017.

- "Horrific Transformations: Costume, Gender, and the Halloween Franchise". In Fashioning Horror: Dressing to Kill in Film and Literature, edited by Julia Petrov and Gundran Whitehead. New York: Bloomsbury, 2017. Co-authored with Nadia Buick.

- "Les deìmoniaques: Politics, Poetry, and the Supernatural Rape-Revenge Film", in Lost Girls: The Phantasmagorical Cinema of Jean Rollin, edited by Samm Deighan. Montréal: Spectacular Optical, 2017.

- "Fostering Evil: Adoption Stigma and the Monster Child in Film", co-authored with Craig Martin. In Misfit Children: An Inquiry into Childhood Belongings, edited by Markus P. J. Bohlmann. Lanham: Lexington, 2016.

- "From Opera House to Grindhouse and Back Again" in Grindhouse: Cultural Exchange on 42nd Street, and Beyond, edited by Austin Fisher and Johnny Walker London: Bloomsbury, 2016.

- "Against Adult Knowledge: Wisdom and Age in Deep Red". Dario Argento’s Deep Red, edited by Luciano Curreri and Michel Delville. Co-written with Craig Martin. Rome: Il Foglio Letterario / Centre Interdisciplinaire de Poetique Appliquee (Universite de Liege), 2015.

- "Bill Henson and the Polemics of the Nude Child in Photography", in The Culture of Photography in Public Space, edited by Anne Marsh, Melissa Miles, and Daniel Palmer. Co-written with Professor Anne Marsh. Bristol: Intellect, 2015.
- "Remembering Michelle Remembers", in Satanic Panic: Pop-Cultural Paranoia in the 1980s, edited by Kier-La Janisse and Paul Corupe. Montreal: Spectacular Optical, 2015 (republished by FAB Press in 2016).

- "The Devil Down Under: Satanic Panic in Australia from Rosaleen Norton to Alison’s Birthday", in Satanic Panic: Pop-Cultural Paranoia in the 1980s, edited by Kier-La Janisse and Paul Corupe. Montreal: Spectacular Optical, 2015 (republished by FAB Press in 2016).

- "Nicoletta Elmi: Italian Horror’s Imp Ascendant", in Kid Power! Ed. by Kier-La Janiesse. Co-written with Craig Martin. Montréal: Spectacular Optical, 2014.

- "’The Power of Christ Compels You’: Moral Spectacle and The Exorcist Universe" in Roman Catholicism in Fantastic Film: Essays on Belief, Spectacle, Ritual and Imagery, edited by Regina Hansen. Jefferson: McFarland & Co., 2011.

Entries in Reference Works

- Directory of World Cinema: Britain (Volume 2). Edited by Neil Mitchell. Entries on Hardware, Submarine, Tiger Bay, Raw Meat, The Railway Children and X: The Unknown. Bristol: Intellect, 2015.

- World Film Locations: Sydney. Edited by Neil Mitchell. Entries on Starstruck, The Tunnel, The Last Days of Chez Nous and The Last Wave. Essay on director Brian Trenchard-Smith. Bristol: Intellect, 2014.

- World Film Locations: Melbourne. Edited by Neil Mitchell. Entries on Alvin Purple, Thirst and Patrick. Bristol: Intellect, 2012.

Journal Articles (Peer Reviewed)

- "Ghostwatch: Supernatural and Technological Presence in Early 1990s Britain", Journal of Supernatural Studies 2 (Winter 2015).

- "The House of the Screaming Child: Ambivalence and the Representation of Children in Profondo Rosso (Dario Argento 1975)" (co-authored with Craig Martin) Red Feather Journal 4.2 (Fall 2013).

- "Cannibals and Other Impossible Bodies: Il Profumo Della Signora in Nero and the Giallo film", Scope: An Online Journal for Film and Television Studies 22, 2012.

- "The Violation of Representation: Art, Argento and the Rape-Revenge Film,"　Forum 13, 2011.

- "Silence and Fury: Rape and　The Virgin Spring,"　Screening the Past 28, 2010.

- "Subversive Frames: Vermeer and Lucio Fulci’s　Sette note in nero",　Refractory: A Journal of Entertainment Media 17, 2010.

- "Snuff Boxing: Rethinking the　Snuff　(1976) Coda",　Cinephile: The University of British Columbia Film Journal 5.2, 2009.

- "Last Trope on the Left: Rape, Film and the Melodramatic Imagination."　Limina: A Journal of Historical and Cultural Studies 15, 2009.

Why has the mask been such an enduring generic motif in horror cinema? This book explores its transformative potential historically across myriad cultures, particularly in relation to its ritual and mythmaking capacities, and its intersection with power, ideology and identity. All of these factors have a direct impact on mask-centric horror cinema: meanings, values and rituals associated with masks evolve and are updated in horror cinema to reflect new contexts, rendering the mask a persistent, meaningful and dynamic aspect of the genre’s iconography. This study debates horror cinema’s durability as a site for the potency of the mask’s broader symbolic power to be constantly re-explored, re-imagined and re-invented as an object of cross-cultural and ritual significance that existed long before the moving image culture of cinema.

Acknowledgements
Introduction - Why Masks? Ritual, Power and Transformation
Chapter One: Situating Masks and Horror Cinema
Part One: Masks, Horror and Cinema: Towards Codification
Chapter Two: Masks and Horror in Literary and Performance Traditions and Early Cinema
Chapter Three: Masks in Horror Film Before 1970
Part Two: Horror Film Masks from 1970
Chapter Four: Skin Masks: Ritual, Power and Transformation
Chapter Five: Blank Masks: Ritual, Power and Transformation
Chapter Six: Animal Masks: Ritual, Power and Transformation
Chapter Seven: Repurposed Masks: Ritual, Power and Transformation
Part Three: Masks as Transformational Technologies – Moving Forward By Looking Back
Chapter Eight: Technological Masks: Ritual, Power and Transformation
Conclusion
Bibliography

Sujets

Horror

Fiction

Informations

Publié par	University of Wales Press
Date de parution	15 octobre 2019
Nombre de lectures	0
EAN13	9781786834973
Langue	English
Poids de l'ouvrage	25 Mo

Informations légales : prix de location à la page 0,2850€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Masks IN HORROR CINEMA

HORROR STUDIES

Serîes Edîtor Xavîer Aldana Reyes, Mancester Metropolîtan Unîversîty

Edîtorîal Board Stacey Abbott, Roeampton Unîversîty Lînnîe Blake, Mancester Metropolîtan Unîversîty Harry M. Bensof, Unîversîty o Nort Texas Fred Bottîng, Kîngston Unîversîty Steven Brum, Western Unîversîty Stefen Hantke, Sogang Unîversîty Joan Hawkîns, Indîana Unîversîty Agnîeszka Soltysîk Monnet, Unîversîty o Lausanne Bernîce M. Murpy, Trînîty College Dublîn Jonny Walker, Nortumbrîa Unîversîty

Preface Horror Studîes îs te irst book serîes exclusîvely dedîcated to te study o te genre în îts varîous manîestatîons – rom ictîon to cînema and televî-sîon, magazînes to comîcs, and extendîng to oter orms o narratîve texts suc as vîdeo games and musîc. Horror Studîes aîms to raîse te proile o Horror and to urter îts academîc înstîtutîonalîsatîon by provîdîng a pub-lîsîng ome or cuttîng-edge researc. As an excîtîng new venture wîtîn te establîsed Cultural Studîes and Lîterary Crîtîcîsm programme, Horror Studîes wîll expand te ield în înnovatîve and student-rîendly ways.

Masks IN HORROR CINEMA

EYES WITHOUT FACES

ALEXANDRA HELLERNICHOLAS

UNIVERSITY OF WALES PRESS 2019

All rîgts reserved. No part o tîs book may be reproduced în any materîal orm (încludîng potocopyîng or storîng ît în any medîum by electronîc means and weter or not transîently or încîdentally to some oter use o tîs publîcatîon) wîtout te wrîtten permîssîon o te copyrîgt owner except în accordance wît te provîsîons o te Copyrîgt, Desîgns and Patents Act. Applîcatîons or te copyrîgt owner’s wrîtten permîssîon to reproduce any part o tîs publîcatîon sould be addressed to te Unîversîty o Wales Press, Unîversîty Regîstry, Kîng Edward VII Avenue, Cardîf, CF10 3NS.

www.uwp.co.uk

Brîtîs Lîbrary Cataloguîng-în-Publîcatîon Data

A catalogue record or tîs book îs avaîlable rom te Brîtîs Lîbrary.

ISBN 978-1-78683-496-6 eISBN 978-1-78683-497-3

he rîgt o Alexandra Heller-Nîcolas to be îdentîied as autor o tîs work as been asserted în accordance wît sectîons 77 and 79 o te Copyrîgt, Desîgns and Patents Act 1988.

Typeset by Crîs Bell, cbdesîgn

Prînted by CPI Antony Rowe, Melksam

For Casper and Crîstîan

Acknowledgements

Introductîon

1. Sîtuatîng Masks and Horror Cînema

Part One: Masks, Horror and Cînema – Towards Codîicatîon

2. Masks and Horror în Lîterary and Perormance Tradîtîons and Early Cînema

3. Masks în Horror Fîlm beore 1970

Part Two: Horror Fîlm Masks from 1970 – Case Studîes

4. Skîn Masks:Rîtual, Power and Transormatîon

5. Blank Masks:Rîtual, Power and Transormatîon

6. Anîmal Masks:Rîtual, Power and Transormatîon

7. Repurposed Masks:Rîtual, Power and Transormatîon

îx

111

129

149

Part hree: Masks as Transformatîonal Tecnologîes – Movîng Forward by Lookîng Back

Tecnologîcal Masks:Rîtual, Power and Transormatîon

Conclusîon

Endnotes Bîblîograpy Index

167

169

191

197 239 267

ITH A PROJECT o tîs scale tere are o course many people W to tank. Fîrst, I must acknowledge Angela Ndalîanîs wîtout wose practîcal and emotîonal support tîs would never ave got of te ground, let alone ever be inîsed. Many tanks to te Horror Studîes serîes edîtor Xavîer Aldana Reyes and Sara Lewîs at Unîversîty o Wales Press or te prîvîlege o învîtîng me to joîn te serîes, and or teîr unceasîng warmt, support and encouragement. I would also lîke to tank Stepen Morgan or îs assîstance în sourcîng te Abel Gance doc-umentatîon vîtal to capter 2, as well as Julîen Allen, Franck Boulègue and Samuel Bréan or teîr translatîon assîstance o tîs materîal, and to Kevîn Hefernan and Mark Jancovîc or teîr învaluable eedback on te orîgînal tesîs versîon o tîs book. Jos Nelson went well above and beyond te call o duty on pretty muc all ronts (încludîng îs împressîve copy-edîtîng prowess), and I would also lîke to tank te ollowîng or teîr support: Anton Bîtel, Sally Crîstîe, Anna Dzenîs, Jon Edmond, Gîles Edwards, Mark Freeman, Lee Gambîn, Wendy Haslem, Jade Hensaw, Ian Gouldstone, Anne Mars, Craîg Martîn,Jan Napîorkowskî, Tîm O’Farrell, Davîd Surman and Emma Westwood. As always, tanks to my amîly, Rîcard, Lorraîne, Max, Fîona andRobert, and wît partîcular love and gratîtude to Casper and Crîstîan.