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The Films of Jess Franco looks at the work of Jesus ""Jess"" Franco
(1930-2013), one of the most prolific and madly inventive
filmmakers in the history of cinema. He is best known as the
director of jazzy, erotically charged horror movies featuring mad
scientists, lesbian vampires, and women in prison, but he also
dabbled in a multitude of genres from comedy to science fiction to
pornography. Although he built his career in the ghetto of
low-budget exploitation cinema, he managed to create a body of work
that is deeply personal, frequently political, and surprisingly
poetic. Editors Antonio Lazaro-Reboll and Ian Olney have assembled
a team of scholars to examine Franco's offbeat films, which command
an international cult following and have developed a more
mainstream audience in recent years. Arguing that his multifaceted,
paradoxical cinema cannot be pinned down by any one single
approach, this edited volume features twelve original essays on
Franco's movies written from a variety of different perspectives.
This collection does not avoid the methodologies most commonly used
in the past to analyze Franco's work-auteur criticism, genre
criticism, and cult film criticism-yet it does show how Franco's
films complicate these critical approaches. The contributors open
up fresh avenues for academic inquiry by considering his oeuvre
from a range of viewpoints, including transnational film studies,
cinephilia studies, and star studies. The Films of Jess Franco
seeks to address the scholarly neglect of this legendary cult
director and to broaden the conversation around the director's work
in ways that will be of interest to fans and academics alike.
Beginning in the 1950s, "Euro Horror" movies materialized in
astonishing numbers from Italy, Spain, and France and popped up in
the US at rural drive-ins and urban grindhouse theaters such as
those that once dotted New York's Times Square. Gorier, sexier, and
stranger than most American horror films of the time, they were
embraced by hardcore fans and denounced by critics as the worst
kind of cinematic trash. In this volume, Olney explores some of the
most popular genres of Euro Horror cinema-including giallo films,
named for the yellow covers of Italian pulp fiction, the S&M
horror film, and cannibal and zombie films-and develops a theory
that explains their renewed appeal to audiences today. -- Indiana
University Press
It's official: the zombie apocalypse is here! The living dead have
been lurking in media and popular culture since the 1930s, but they
have never been more popular or ubiquitous on screen than they are
today. Zombies have colonized the movies, television, video games,
the internet-even smartphones-and the invitation shows no sign of
ending soon. Our hunger for them, like hunger for us, seems
insatiable. Zombie Cinema charts the transformation of these horror
film monsters into pop culture icons, exploring their enormous
appeal to views in the twenty-first century. It traces the
evolution of the living dead on film from the voodoo slaves of
White Zombie and I Walked With a Zombie to the reanimated ghouls of
Night of the Living Dead and Zombie Flesh Eaters to the rabid
infected of 28 Days Later and World War Z, and surveys the present
cinematic landscape, in which zombies have overrun every imaginable
genre from the indie comedy, Zombieland, to the teen romance, Warm
Bodies, to the animated children's movie, Paranorman. The book also
maps the recent outbreaks of zombies on television, in hit shows
like The Walking Dead and Dead Set, and points to signs of an
impending apocalypse in new media, including video games, Left 4
Dead, web series, Bite Me, and smartphone apps, Plants vs. Zombies.
Zombie Cinema is a lively and accessible introduction to this
massively popular genre. It offers an historical overview of
zombies on screen that is both wide-ranging and global in scope.
Surveying movies and television shows from North America, Europe,
Asia, and elsewhere, it covers the "greatest hits" of zombie cinema
as well as forgotten, unsung, or less familiar texts.
The Films of Jess Franco looks at the work of Jesus ""Jess"" Franco
(1930-2013), one of the most prolific and madly inventive
filmmakers in the history of cinema. He is best known as the
director of jazzy, erotically charged horror movies featuring mad
scientists, lesbian vampires, and women in prison, but he also
dabbled in a multitude of genres from comedy to science fiction to
pornography. Although he built his career in the ghetto of
low-budget exploitation cinema, he managed to create a body of work
that is deeply personal, frequently political, and surprisingly
poetic. Editors Antonio Lazaro-Reboll and Ian Olney have assembled
a team of scholars to examine Franco's offbeat films, which command
an international cult following and have developed a more
mainstream audience in recent years. Arguing that his multifaceted,
paradoxical cinema cannot be pinned down by any one single
approach, this edited volume features twelve original essays on
Franco's movies written from a variety of different perspectives.
This collection does not avoid the methodologies most commonly used
in the past to analyze Franco's work-auteur criticism, genre
criticism, and cult film criticism-yet it does show how Franco's
films complicate these critical approaches. The contributors open
up fresh avenues for academic inquiry by considering his oeuvre
from a range of viewpoints, including transnational film studies,
cinephilia studies, and star studies. The Films of Jess Franco
seeks to address the scholarly neglect of this legendary cult
director and to broaden the conversation around the director's work
in ways that will be of interest to fans and academics alike.
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