By Steffen Hantke

Creatively spent and politically inappropriate, the yank horror movie is a trifling ghost of its former self-or so is going the outdated observed from fanatics and students alike. taking up this undeserved recognition, the members to this assortment supply a finished examine a decade of cinematic construction, masking a large choice of fabric from the final ten years with a transparent serious eye.

Individual essays profile the paintings of up-and-coming director Alexandre Aja and re-evaluate William Malone's muchmaligned Feardotcom within the gentle of the torture debate on the finish of President George W. Bush's management. different essays examine the commercial, social, and formal elements of the style; the globalization of the U.S. movie undefined; the alleged escalation of cinematic violence; and the large advertisement acclaim for the remake. a few essays learn particular subgenres-from the teenage horror flick to the serial killer movie and the religious horror film-as good because the carrying on with relevance of vintage administrators reminiscent of George A. Romero, David Cronenberg, John Landis, and Stuart Gordon.

Essays planned at the advertising and marketing of nostalgia and its concomitant aesthetic, and the apparently schizophrenic viewpoint of fanatics who take place to be students in addition. Taken jointly, the participants to this assortment make a compelling case that American horror cinema is as important, artistic, and thought-provoking because it ever was.

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Extra resources for American Horror Film: The Genre at the Turn of the Millennium

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Html (accessed December 10, 2006). xxxii Introduction Church, David. 10 (November 25, 2006). http://www. com/biblio/ phile/essays/return_of_the_repressed/ (accessed March 1, 2008). Clover, Carol. Men, Women, and Chainsaws: Gender in the Modern Horror Film. : Princeton University Press, 1992. Ebert, Roger. Review of Night of the Living Dead. Chicago Sun Times, January 5, 1967. AID=/19670105/REVIEWS/701050301/1023 (accessed March 5, 2008). Edmundson, Mark. Nightmare on Main Street: Angels, Sadomasochism, and the Culture of Gothic.

Aja) Aja seems to have found a home in America, or at least a workplace. Like many directors currently working in the field of transnational horror, he has recently completed a remake. He has directed the remake of a Korean horror film, Into the Mirror (Geoul sokeuro, 2003), called Mirrors, starring the popular American actor Kiefer Sutherland. He is also capitalizing on an American techno-trend in a remake of the 1978 horror-comedy, Piranha, slated for release in 2009 as Piranha 3-D. Aja enjoys box office success and freedom in Hollywood despite clashes with the MPAA board, as in the case of High Tension.

The production company? The director? The stars? The language? The visual and narrative styles? The themes? The markets? Even if we could pinpoint the sources of a film’s identity, can we really disentangle these threads from one another? This question of cultural identity extends, of course, beyond the realm of genre films and into questions about audiences and national culture more generally, all of which are becoming less culturally coherent. In an era when we are all eating one another’s food, listening to one another’s music, attending one another’s universities, and watching one another’s antics on You Tube, to what extent can any of us be said to possess a distinct, singular, and neatly bounded national cultural identity?

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