Horror film - Wikipedia. A famous scene from the 1. German horror film Nosferatu. A horror film is a movie that seeks to elicit a physiological reaction, such as an elevated heartbeat, through the use of fear and shocking one’s audiences. Inspired by literature from authors like Edgar Allan Poe, Bram Stoker, and Mary Shelley, the horror genre has existed for more than a century. The macabre and the supernatural are frequent themes. Horror may also overlap with the fantasy, supernatural fiction and thriller genres. You’ve found the world’s premier horror fiction podcast. For a decade, Pseudopod has been bringing you the best short. Check out the latest movie reviews, news & trailers. We have all the hottest and. Watch the best Asian Horror Movies Online for FREE,Free Horror Movies, The Best Asian Horror Movies,K-horror for. Horror films often deal with viewers' nightmares, fears, revulsions and terror of the unknown. Plots within the horror genre often involve the intrusion of an evil force, event, or personage into the everyday world. Prevalent elements include ghosts, extraterrestrials, vampires, werewolves, demons, satanism, gore, torture, vicious animals, evil witches, monsters, zombies, cannibals, psychopaths, natural or man- made disasters, and serial killers. The Cave of the Demons, literally . In 1. 90. 8, Selig Polyscope Company produced Dr. Jekyll and Mr. Hyde. Paul Wegener's The Student of Prague (1. The Golem trilogy (1. Robert Wiene's The Cabinet of Dr. Caligari (1. 92. 0), Arthur Robison's Warning Shadows (1. Paul Leni's Waxworks (1. The first vampire- themed movie, Nosferatu (1. Bram Stoker's Dracula. Other European countries also, contributed to the genre during this period. Some notable examples include The Hunchback of Notre Dame (1. The Phantom of the Opera (1. The Cat and the Canary (1. The Unknown (1. 92. The Man Who Laughs (1. Many of these early films were considered dark melodramas because of their stock characters and emotion- heavy plots that focused on romance, violence, suspense, and sentimentality. Directors known for relying on macabre in their films during the 1. Maurice Tourneur, Rex Ingram, and Tod Browning. Ingram's The Magician (1. Tod Browning's Dracula (1. James Whale's Frankenstein (1. The Old Dark House (1. Some of these films blended science fiction with Gothic horror, such as Whale's The Invisible Man (1. German films. Frankenstein was the first in a series of remakes which lasted for years. The Mummy (1. 93. Egyptology as a theme; Make- up artist. Jack Pierce was responsible for the iconic image of the monster, and others in the series. Universal's horror cycle continued into the 1. B- movies including The Wolf Man (1. An anthology series centering on different characters and locations, including a house with a murderous past, an. Movie Review: The Coming-of-Age Cannibal Film Raw Is. A horror film is a movie that seeks to elicit a physiological reaction, such as an elevated heartbeat, through. The once controversial Freaks (1. Jekyll and Mr. Hyde (Paramount, 1. Jekyll's transformation before the camera. Both appeared in three of Val Lewton's atmospheric B- movies for RKO in the mid- 1. The Body Snatcher (1. Two subgenres began to emerge: the Doomsday film and the Demonic film. Japan's experience with Hiroshima and Nagasaki bore the well- known Godzilla (1. House of Wax (1. 95. D film to draw audiences, while The Tingler used electric seat buzzers in 1. Filmmakers continued to merge elements of science fiction and horror over the following decades. Considered a . The film conveyed the fears of living in the Atomic Age and the terror of social alienation. During the later 1. UK emerged as a major producer of horror films. The Hammer company focused on the genre for the first time, enjoying huge international success from films involving classic horror characters which were shown in color for the first time. Drawing on Universal's precedent, many films produced were Frankenstein and Dracula remakes, both followed by many sequels. Other British companies contributed to a boom in horror film production in the UK during the 1. Released in May 1. British psychological thriller Peeping Tom (1. Michael Powell was the first . France continued the mad scientist theme, while Italian horror films became internationally notable. American International Pictures (AIP) made a series of Edgar Allan Poe–themed films. Films in the era used the supernatural premise to express the horror of the demonic. The Innocents (1. Henry James novel The Turn of the Screw. Meanwhile, ghosts were a dominant theme in Japanese horror, in such films as Kwaidan, Onibaba (both 1. Kuroneko (1. 96. 8). Rosemary's Baby is a 1. American psychological horror film written and directed by Roman Polanski, based on the bestselling 1. Ira Levin. Another influential American horror film of this period was George A. Romero's Night of the Living Dead (1. Produced and directed by Romero on a budget of $1. An Armageddon film about zombies, it began to combine psychological insights with gore. Distancing the era from earlier gothic trends, late 6. Low- budget splatter films from the likes of Herschell Gordon Lewis also gained prominence. The Exorcist (1. 97. Robert Wise's film Audrey Rose (1. Alice, Sweet Alice (1. Catholic- themed horror slasher about a little girl's murder and her sister being the prime suspect. Another popular occult horror movie was The Omen (1. Antichrist. Invincible to human intervention, Demons became villains in many horror films with a postmodern style and a dystopian worldview. Another example is The Sentinel (1. Hell. During the 1. Italian filmmakers Mario Bava, Riccardo Freda, Antonio Margheriti, and Dario Argento developed giallo horror films that became classics and influenced the genre in other countries. Representative films include: Black Sunday, Blood and Black Lace, Castle of Blood, Twitch of the Death Nerve, The Bird with the Crystal Plumage, Deep Red, and Suspiria. Don't Look Now, a 1. British- Italian film directed by Nicolas Roeg, was also notable. Its focus on the psychology of grief was unusually strong for a film featuring a supernatural horror plot. Another notable 1. The Wicker Man, a British mystery horror film dealing with the practice of ancient pagan rituals in the modern era. It was written by Anthony Shaffer and directed by Robin Hardy. The ideas of the 1. Wes Craven's The Hills Have Eyes (1. The Last House On The Left (1. Tobe Hooper's The Texas Chain Saw Massacre (1. Romero satirized the consumer society in his zombie sequel, Dawn of the Dead (1. Meanwhile, the subgenre of comedy horror re- emerged in the cinema with The Abominable Dr. Phibes (1. 97. 1), Young Frankenstein (1. The Rocky Horror Picture Show (1. An American Werewolf in London (1. Also in the 1. 97. Stephen King began to be adapted for the screen, beginning with Brian De Palma's adaptation of Carrie (1. King's first published novel, for which the two female leads (Sissy Spacek and Piper Laurie) gained Oscar nominations. Next, was his third published novel, The Shining (1. Stanley Kubrick, which was a sleeper at the box office. At first, many critics and viewers had negative feedback towards The Shining. However, the film is now known as one of Hollywood's most classic horror films. This psychological horror film has a variety of themes; . This type of film is an example of how Hollywood's idea of horror started to evolve. Murder and violence were no longer the main themes of horror films. During the 7. 0s and 8. Another classic Hollywood horror film is Tobe Hooper's Poltergeist. Poltergeist is ranked the 2. Chicago Film Critics Association. Both The Shining and Poltergeist involve horror being based on real- estate values. The evil and horror throughout the films come from where the movies are taking place. John Carpenter created Halloween (1. Sean Cunningham made Friday the 1. Wes Craven directed A Nightmare on Elm Street (1. Clive Barker made Hellraiser (1. This subgenre would be mined by dozens of increasingly violent movies throughout the subsequent decades, and Halloween became a successful independent film. Another notable '7. Bob Clark's Black Christmas (1. Sleepaway Camp (1. The boom in slasher films provided enough material for numerous comedic spoofs of the genre including Saturday the 1. Student Bodies (1. National Lampoon's Class Reunion (1. Hysterical (1. 98. In The Facts of Life episode Seven Little Indians, Jo mentions going to see a horror film (The Halloween Hacker 3: Part 6. A New Beginning. Dave Returns. Again), which is poking fun at the slasher trend and the sequels that were rapidly being churned out throughout the 1. Some films explored urban legends such as . A notable example is When a Stranger Calls, a 1. American psychological horror film directed by Fred Walton starring Carol Kane and Charles Durning. Steven Spielberg's Jaws (1. Orca (1. 97. 7) and Up from the Depths (1. Jaws is often credited as being one of the first films to use traditionally B movie elements such as horror and mild gore in a big- budget Hollywood film. In 1. 97. 9, Don Coscarelli's Phantasm was the first of the Phantasm franchise. Alien, a 1. 97. 9 British- American science- fiction horror film directed by Ridley Scott was very successful, receiving both critical acclaim and being a box office success. John Carpenter's 1. The Thing was also a mix of horror and sci- fi, but it was neither a box- office nor critical hit, but soon became a cult classic. However, nearly 2. The 1. 98. 0s saw a wave of gory . A significant example is Sam Raimi's Evil Dead movies, which were low- budget gorefests but had a very original plotline which was later praised by critics. Vampire horror was also popular in the 1. Fright Night (1. 98. The Lost Boys (1. Near Dark (also 1. In 1. 98. 4, Joe Dante's seminal monster comedy Gremlins became a box office hit with critics and audiences, and inspired a trend of . The slasher films A Nightmare on Elm Street, Friday the 1. Halloween and Child's Play all saw sequels in the 1. Wes Craven's New Nightmare (1. Silence of the Lambs (1. New Nightmare, with In the Mouth of Madness (1. The Dark Half (1. Candyman (1. 99. 2), were part of a mini- movement of self- reflexive or metafictional horror films. Each film touched upon the relationship between fictional horror and real- world horror. Candyman, for example, examined the link between an invented urban legend and the realistic horror of the racism that produced its villain. In the Mouth of Madness took a more literal approach, as its protagonist actually hopped from the real world into a novel created by the madman he was hired to track down. Pseudopodby B. C. Edwards“Evitative” is the titular and ultimate story of The Aversive Clause, the collection of stories that also included, . EDWARDS is the author of two books,The Aversive Clause and From The Standard Cyclopedia of Recipes. He has written for Mathematics Magazine, Hobart, The New York Times, and others. His debut story collection, which this is the titular story of, was awarded the Hudson Prize for fiction and received a poetry fellowship from the New York Foundation of the Arts. He attended the graduate writing program at The New School in New York and lives in Brooklyn with his husband. His website bce. nyc totally exists, but that’s really all that should be said about it. It’s in desperate need of a redo. Says Edwards: “I’ve been listening to audial fiction for longer than I’ve been listening tomusic. My work is always written with the intention of being read aloud. So it’s really something to have a pair of stories in your archive. Thanks for keeping both horror and the spoken word going strong at the same time.”This week’s reader – Dani Daly – is one of the assistant editors of Cast of Wonders, and narrating is just one of the things she loves to do. She’s a retired roller derby player and current hobbyist soap maker, for instance. She rants on twitter as @danooli. Or you can visit the EA forums. She loves it there. Shawn Garrett composed the soundbed for this episode, which he dedicates to master avant- garde musicians/field recorders Annea Lockwood & Chris Watson. A list of links to sounds used from Freesound. Thanks to our sponsor, ARCHIVOS – a Story Mapping and Development Tool for writers, gamers, and storytellers of all kinds! Info on Anders Manga’s album (they do our theme music!) can be found here. Once the oceans came up and covered the streets over it was like they weren’t ever there. No streets or dead Camaros or boys that abandon you when things get flooded and break down. There were just the tall trees with the high branches and water everywhere and the smudge of mountains I can see off on the horizon if I climb all the way to the top of the tree we use for looking at things. The water filled in all the gaps and erased our telemarketing jobs and our high- heels and the clubs we wore them to. But we’re safe up here, on the little platform Jo- Jo built in the trees. He found me wandering in the muck, cold and alone and his was the first face that I’d seen in forever that didn’t look scared or desperate or tired. The first one since the water and the bombs and all who didn’t try to take one more thing from me, didn’t try to steal me away or trick me into anything. Jo- Jo just smiled and his eyes smiled too and even though he’d lost his words already I knew he meant well. And he showed me how to climb the trees and get up to his platform where there’s nothing to do but climb around, eat the berries and the appleish things that dangle off the branches like Christmas ornaments and screw all afternoon long and laze about watching the world disappear. Jo- Jo catches the birds that build their nests and try to eat our fruit, and then we eat the birds too. That’s about all we do. That’s about all the kid in my belly will do, too. But the kid won’t know any different. It won’t think there was ever something other than the trees and the muck and the water and the men who come by every now and again in their canoes and their ugly paddles and their terrible broken whispers. You can’t go down there; those men will eat you. SOUNDBED SOURCES4.
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