Though Grimm's Fairy Tales was published about 200 years ago, the revered collection of folk stories remains one of the most iconic pieces of children's literature and has had significant influence in modern pop culture. This work examines the many ways that recent films have employed archetypal images, themes, symbols, and structural elements that originated in the most well-known Grimm fairy tales. The author draws similarities between the cannibalistic symbolism of the Grimm brothers' Little Red Cap and the 1991 film The Silence of the Lambs and reveals Faustian parallels between Rumpelstiltskin and the 1968 film Rosemary's Baby. Each of eight chapters reveals a similar pairing, and film stills and illustrations are featured throughout the work.
Mind control, madness and altered states of reality can make for exciting nights at the movies--which explains the enduring popularity of a film genre that might be called the psycho thriller. Psychiatry and film came of age simultaneously, and characters such as the evil psychiatrist and the pathological killer were often developed in direct reference to the psychological themes that inspired them. For example, the penchants of Hitchcock's famously creepy Norman Bates represented real psychological disorders, and his actions were explained through psychoanalysis. The psycho thriller presents a world where psychology represents a dimension of supernatural and metaphysical wonders.
Publication Date: 2014-05-14
Hammer Film's is justly famous for Gothic horror but the company also excelled in the psychological thriller. Influenced by Henri-Georges Clouzot and Alfred Hitchcock, Hammer created its own approach to this genre in some of the company's very best films. This book takes a chronological, film-by-film approach to all of Hammer's thrillers. Well-known classics such as Seth Holt's The Nanny (1965) and Taste of Fear (1961) are discussed, together with less well known but equally brilliant films such as The Full Treatment (dir. Val Guest, 1960) and Michael Carreras' Maniac (1963). The films' literary ancestry, reflection of British society and relation to psychological theories of Freud and Jung, architectural metaphor, sexuality, religion, and even Nazi atrocities are all fully explored.
In this enjoyable and challenging volume, Susan Hayward, leading writer on French cinema, sets Les Diaboliques against the political culture of its time and demonstrates the importance of Clouzot as a master of the thriller genre. She gives an illuminating, in-depth textual analysis of the film and compares it with its U.S. remake, which, juxtaposed with the original and the book on which it is based, highlights the great staying power of Clouzot's version, still popular with international audiences half a century after its premiere.
From the hit movie directed by Adrian Lyne, this is the original script with over 100 photos. From Rubin's introduction: The script presented here is not my initial screenplay but the final draft completed just before shooting. While close to the original, some significant scenes have been changed or cut. You will find them in the final chapter.
Publication Date: 2018-08-27
Amid a recent resurgence in horror films, David Robert Mitchell’s It Follows stands out as a particularly bold entry, a horror fan’s dream come true that sparked a renewed creativity. Pulling a robust 97% on Rotten Tomatoes, It Follows was hailed as a “teen movie you’ve never seen before,” a “creepy, mesmerizing exercise in minimalist horror,” “the best horror film in years,” and simply, “so damn good.” Mitchell uses a variety of approaches to reinvent genre bromides while simultaneously embracing and challenging tropes that audiences and filmmakers rely on a little too heavily. It Follows is one of the best because it is one of the most unique. In this Devil’s Advocate, Joshua Grimm focuses on how this film helped reinvent the rules of a horror movie, particularly along the lines of genre, style, sex, and gender.
Publication Date: 2018
This volume investigates The Shining's most fascinating aspects as a film while also addressing the range of meanings and interpretations assigned to the film, looking into what has made it one of the key cult films of the last half century.
This essay contends that Jennifer Kent's The Babadook (2014) expands the subgenre of maternal horror by exploring reassurance as a fraught motherly act, one that is imbricated with the trauma of having to believe in the child's monsters. The film dissects the rituals that have conventionally been assigned to mothers—in this case, to single mothers—to demonstrate the precariousness of maternal authority. Maternal reassurance in particular comes to embody the terrible tension between the imperative to comfort, or, as Henry James puts it at the beginning of The Turn of the Screw (1899), “to dissipate [a child's] dread and soothe him to sleep again,” and the ineffectiveness of such verbal and gestural acts.
The Babadook figures reassurance as a categorical refusal to take harm seriously, a performance of safety that does not guarantee safety at all. By linking reassurance to the mother's identity, Kent uses horror conventions to provide an unexpected critique of the burdens of maternal responsibility. What is more, she deploys these conventions to reimagine reassurance as a discourse that can powerfully generate, rather than dissipate, fear and horror and thus reconfigure the mother/son relationship in unexpected ways.
Rosemary's Baby and Straw Dogs are New Hollywood films that explore themes of death and violence. Terror management theory (TMT), a theory of the role of death fear in the human striving for significance, is utilized to clarify various aspects of these films, including their use of death imagery and the motivations of the characters, and to reveal some novel parallels between the films
Publication Date: 2012-07-24
Polanski and Perception, the psychology of seeing and the cinema of Roman Polanski, is about the Roman Polanski’s interest in the nature of perception and how this is manifested in his films. Firstly, this book discusses Roman Polanski’s, his career, his early shorts and his features, the Knife in the Water. Further, this book is divided into sets namely Apartment Trilogy and Investigation Trilogy. The Apartment Trilogy set discusses the Repulsion, Rosemary’s Baby, and The Tenant. On the other hand, the Investigation Trilogy set discusses the Chinatown, Frantic, and The Ninth Gate. Moreover, this book also discussed the case studies of Knife in the Water, Death and the Maiden, and The Ghost.
This essay proposes that certain cinematic conventions of the horror film are uniquely suited to bring into visibility everyday, endemic horror – a horror that many in US society refuse to see. I call this use of horror, ‘horror vérité’ or truthful horror. As a form of politically inflected horror, it has potential to perform the kind of materialist history that Walter Benjamin theorizes, in which the historical materialist ‘appropriate[es] a memory as it flashes up in a moment of danger’ in order to recast the present. Jordan Peele’s 2017 film, Get Out, is an example of ‘horror vérité’, because it uses the mechanics of the horror genre to expose actually existing racism, to render newly visible the very real, but often masked, racial landscape of a professedly liberal post-racial America.
The film analysis considers: first, the use of the conventions of horror to expose everyday racial violence; second, its reliance on a dialectic of sleeping (hypnosis) and waking up (provoked by photography); and third, its performing of the historical materialism Benjamin describes, in which the jarring confrontation of the past and the present radically alters the landscape of the present.