By Charles Derry
Tremendously improved and up-to-date from the 1977 unique, this new version explores the evolution of the trendy horror movie, fairly because it displays anxieties linked to the atomic bomb, the chilly warfare, Sixties violence, sexual liberation, the Reagan revolution, 11th of September and the Iraq battle.
It divides smooth horror into 3 types (psychological, demonic and apocalyptic) and demonstrates how horror cinema represents the preferred expression of daily fears whereas revealing the forces that impact American ideological and political values.
Directors given a detailed interpreting comprise Alfred Hitchcock, Brian De Palma, David Cronenberg, Guillermo Del Toro, Michael Haneke, Robert Aldrich, Mel Gibson and George A. Romero. extra fabric discusses postmodern remakes, horror franchises and Asian millennial horror. This booklet additionally includes greater than 950 body grabs and a really broad filmography.
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Additional info for Dark Dreams 2.0: A Psychological History of the Modern Horror Film from the 1950s to the 21st Century
Yet ultimately, it is the low-budget The Honeymoon Killers, a black-and-white independent American ﬁlm clearly ahead of its time which shocks the most. Starring the unlikely pairing of stolid Shirley Stoler and Tony Lo Bianco as the real-life “Lonely Hearts Killers” Martha Beck and Ray Fernandez, whose murder spree is propelled by an amour fou that both Luis Buñuel and François Truffaut would be proud of, The Honeymoon Killers, written and directed by Leonard Kastle, impresses with its casual depiction of the sordid everyday.
Many of these ﬁlms were William Castle Productions or for American International. Even more of them featured some special gimmick, such as the thousand-dollar life-insurance policy from Lloyds of London that the theatre patrons of Macabre would receive in case any of them should die of fright; or the free burial services offered to expired patrons of The Screaming Skull; or “PsychoRama,” the gimmick used in Terror in the Haunted House, in which subliminal pictures were used to psychologically affect the audience; or “Emergo” in House on Haunted Hill, where a wired skeleton would “ﬂoat” over the heads of the audience; or “Percepto,” in The Tingler, where vibrating motors were attached to the underside of selected theatre seats, which at the proper moments inﬂicted tingling sensations to a delicate portion of the theatergoer’s anatomy; or “Hypnomagic,” in The Hypnotic Eye, in which one of the onscreen actors tries to hypnotize the audience; or “Illusion-O,” in 13 Ghosts, in which special glasses allow the ghosts to become visible to the audience; or the “Fright Break” in Homicidal, where the narrative stopped for 45 seconds near the end and allowed any terriﬁed moviegoers to get their money back if they would humiliate themselves by walking in a yellow light to the yellow “Coward’s Corner” that had been set aside in the theatre.
Before Charlotte can leave the house of her father, she must go through the experience of reenacting the crime in the dream sequence and “shooting” Dr. Drew Bayliss, played by Joseph Cotten. Yet the difference in attitude between Marnie and the Aldrich ﬁlms shows why Marnie is not a horror ﬁlm: Marnie is really guilty of the past crime and is cured while she is relatively young. Baby Jane and Charlotte are not guilty, and they are not cured of their madness until their whole lives have been wasted and it is too late.