By Adam Lowenstein
In this imaginitive new paintings, Adam Lowenstein explores the ways that a gaggle of groundbreaking horror motion pictures engaged the haunting social conflicts left within the wake of global battle II, Hiroshima, and the Vietnam struggle. Lowenstein facilities Shocking Representation round readings of movies by means of Georges Franju, Michael Powell, Shindo Kaneto, Wes Craven, and David Cronenberg. He exhibits that via allegorical representations those directors' motion pictures faced and challenged comforting old narratives and notions of nationwide id meant to appease public anxieties within the aftermath of nationwide traumas.
Borrowing parts from paintings cinema and the horror style, those administrators disrupted the limits among low and high cinema. Lowenstein contrasts their works, frequently brushed aside by way of modern critics, with the movies of acclaimed "New Wave" administrators in France, England, Japan, and the USA. He argues that those "New Wave" movies, which have been embraced as either artwork and nationwide cinema, frequently upheld traditional principles of state, heritage, gender, and sophistication wondered through the horror movies. by means of fusing movie reports with the rising box of trauma experiences, and drawing at the paintings of Walter Benjamin, Adam Lowenstein bargains a daring reassessment of the fashionable horror movie and the belief of nationwide cinema.
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Extra info for Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film (Film and Culture)
The romance of this line echoes the tag line for Browning’s Dracula and captures Coppola’s and the screenwriter James V. Hart’s conception for the film. 18 The tag line Love Never Dies was, however, one of the first public indications that the marketing and conceptual approach to this film was to draw upon the romantic associations with vampirism. 19 The casting of the film supports this strategy as its American stars Winona Ryder and Keanu Reeves were popular with young audiences, while Gary Oldman brought sex appeal to the role of the romantic Count as well as an association with independent cinema and quality British film productions.
22. Steffen Hantke, ‘Shudder As We Think: Reflections on Horror and/or Criticism’, Paradoxa, (Special Horror Issue), no. 17, 2002 , p. 2. 3 The term high concept emerged in the 1970s when television producers were looking for programme ideas that could be conveyed in thirty-second television spots. As a result they would approve ideas that could be summarised in one sentence. This method of pitching and green-lighting new projects was adopted by Hollywood. 4 Justin Wyatt argues, however, that there is more to the high concept film than the simplicity of its narrative.
128. dark rides, hybrid machines 25 17. Each of the stories in this compilation had been released as separate comic books in 1962. 18. Jay David Bolter and Richard Grusin, Remediation: Understanding New Media, Massachusetts: Cambridge, 1999. 19. I thank Ian Conrich for pointing out that pre-1940s horror films were predominantly stage adaptations. The film Dracula (1931), for example, was based on the popular Broadway play of the same title, which was, in turn, based on Bram Stoker’s novel. Starring in the play was Bela Lugosi who would also star as Dracula on the silver screen.