Using the four tissue types (connective, epithelial, nervous, and muscular), Dudenhoeffer expands and complicates the subgenre of "body horror." Changing the emphasis from the contents of the film to the "organicity" of its visual and affective registers, he addresses the application of psychoanalysis, phenomenology, object-ontology, and cyborgism.
Using the four tissue types (connective, epithelial, nervous, and muscular), Dudenhoeffer expands and complicates the subgenre of "body horror." Changing the emphasis from the contents of the film to the "organicity" of its visual and affective registers, he addresses the application of psychoanalysis, phenomenology, object-ontology, and cyborgism.
Larrie Dudenhoeffer is Associate Professor of English at Kennesaw State University, USA.
Inhaltsangabe
Introduction: Darkness into Light: An Introduction to the Four Tissue Types of Horror Cinema 1. Elbows and Assholes: The Anal Work Ethic in Alfred Hitchcock's Psycho 2. Spectral Filtering: Smart Television on the "Silver Screen" in Gore Verbinski's The Ring 3. The Red Scare: Marxism, Menstruation, and Stuart Rosenberg's The Amityville Horror 4. Grindhouse Ago-Go: Sounding the Collagenous Commons of Rob Zombie's The Lords of Salem 5. Spheres of Orientation: On Why Don Coscarelli's Phantasm Series Is More Cerebral than One Might Think 6. The AIllusion: Intelligent Machines, Ethical Turns, and Oren Peli's Paranormal Activity 7. Monster Mishmash: Icon, Intertext, and Integument in Tobe Hooper's The Texas Chain Saw Massacre 8. "Little children, it is the last time": The Ovolutionary Trees of Lars Von Trier's Antichrist Conclusion: Post-Op: Giving Horror Film Another Chance
Introduction: Darkness into Light: An Introduction to the Four Tissue Types of Horror Cinema 1. Elbows and Assholes: The Anal Work Ethic in Alfred Hitchcock's Psycho 2. Spectral Filtering: Smart Television on the "Silver Screen" in Gore Verbinski's The Ring 3. The Red Scare: Marxism, Menstruation, and Stuart Rosenberg's The Amityville Horror 4. Grindhouse Ago-Go: Sounding the Collagenous Commons of Rob Zombie's The Lords of Salem 5. Spheres of Orientation: On Why Don Coscarelli's Phantasm Series Is More Cerebral than One Might Think 6. The AIllusion: Intelligent Machines, Ethical Turns, and Oren Peli's Paranormal Activity 7. Monster Mishmash: Icon, Intertext, and Integument in Tobe Hooper's The Texas Chain Saw Massacre 8. "Little children, it is the last time": The Ovolutionary Trees of Lars Von Trier's Antichrist Conclusion: Post-Op: Giving Horror Film Another Chance
Introduction: Darkness into Light: An Introduction to the Four Tissue Types of Horror Cinema 1. Elbows and Assholes: The Anal Work Ethic in Alfred Hitchcock's Psycho 2. Spectral Filtering: Smart Television on the "Silver Screen" in Gore Verbinski's The Ring 3. The Red Scare: Marxism, Menstruation, and Stuart Rosenberg's The Amityville Horror 4. Grindhouse Ago-Go: Sounding the Collagenous Commons of Rob Zombie's The Lords of Salem 5. Spheres of Orientation: On Why Don Coscarelli's Phantasm Series Is More Cerebral than One Might Think 6. The AIllusion: Intelligent Machines, Ethical Turns, and Oren Peli's Paranormal Activity 7. Monster Mishmash: Icon, Intertext, and Integument in Tobe Hooper's The Texas Chain Saw Massacre 8. "Little children, it is the last time": The Ovolutionary Trees of Lars Von Trier's Antichrist Conclusion: Post-Op: Giving Horror Film Another Chance
Introduction: Darkness into Light: An Introduction to the Four Tissue Types of Horror Cinema 1. Elbows and Assholes: The Anal Work Ethic in Alfred Hitchcock's Psycho 2. Spectral Filtering: Smart Television on the "Silver Screen" in Gore Verbinski's The Ring 3. The Red Scare: Marxism, Menstruation, and Stuart Rosenberg's The Amityville Horror 4. Grindhouse Ago-Go: Sounding the Collagenous Commons of Rob Zombie's The Lords of Salem 5. Spheres of Orientation: On Why Don Coscarelli's Phantasm Series Is More Cerebral than One Might Think 6. The AIllusion: Intelligent Machines, Ethical Turns, and Oren Peli's Paranormal Activity 7. Monster Mishmash: Icon, Intertext, and Integument in Tobe Hooper's The Texas Chain Saw Massacre 8. "Little children, it is the last time": The Ovolutionary Trees of Lars Von Trier's Antichrist Conclusion: Post-Op: Giving Horror Film Another Chance
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