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Books > Arts & Architecture > Performing arts > Films, cinema > Film theory & criticism
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Making and Remaking Horror in the 1970s and 2000s - Why Don't They Do It Like They Used To? (Paperback)
Loot Price: R826
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Making and Remaking Horror in the 1970s and 2000s - Why Don't They Do It Like They Used To? (Paperback)
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In Making and Remaking Horror in the 1970s and 2000s author David
Roche takes up the assumption shared by many fans and scholars that
original horror movies are more ""disturbing,"" and thus better
than the remakes. He assesses the qualities of movies, old and
recast, according to criteria that include subtext, originality,
and cohesion. With a methodology that combines a formalist and
cultural studies approach, Roche sifts aspects of the American
horror movie that have been widely addressed (class, the
patriarchal family, gender, and the opposition between terror and
horror) and those that have been somewhat neglected (race, the
Gothic, style, and verisimilitude). Containing seventy-eight black
and white illustrations, the book is grounded in a close
comparative analysis of the politics and aesthetics of four of the
most significant independent American horror movies of the
1970s--The Texas Chain Saw Massacre, The Hills Have Eyes, Dawn of
the Dead, and Halloween--and their twenty-first-century remakes. To
what extent can the politics of these films be described as
""disturbing"" insomuch as they promote subversive subtexts that
undermine essentialist perspectives? Do the politics of the film
lie on the surface or are they wedded to the film's aesthetics?
Early in the book, Roche explores historical contexts, aspects of
identity (race, ethnicity, and class), and the structuring role
played by the motif of the American nuclear family. He then asks to
what extent these films disrupt genre expectations and attempt to
provoke emotions of dread, terror, and horror through their
representations of the monstrous and the formal strategies
employed? In this inquiry, he examines definitions of the genre and
its metafictional nature. Roche ends with a meditation on the
extent to which the technical limitations of the horror films of
the 1970s actually contribute to this ""disturbing"" quality.
Moving far beyond the genre itself, Making and Remaking Horror
studies the redux as a form of adaptation and enables a more
complete discussion of the evolution of horror in contemporary
American cinema.
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