Horror Studies最新文献_第10页

The Twilight of The Idols: Perversity as eternal return and will-to-power in Antonio Margheriti’s The Virgin Of Nuremberg 偶像的黄昏:安东尼奥·玛格丽蒂的《纽伦堡的处女》中作为永恒回归和权力意志的变态

IF 0.2

Horror Studies Pub Date : 2018-04-01 DOI: 10.1386/HOST.9.1.87_1

Colin Gardner

引用次数: 0

‘The most objectionable story I have ever had to report on’: Film censorship in post-Second World War Britain and the re-telling of Robert Louis Stevenson’s The Body Snatcher “我报道过的最令人反感的故事”：第二次世界大战后英国的电影审查制度和罗伯特·路易斯·史蒂文森的《抢尸者》的重演

IF 0.2

Horror Studies Pub Date : 2018-04-01 DOI: 10.1386/HOST.9.1.7_1

P. Frith

{"title":"‘The most objectionable story I have ever had to report on’: Film censorship in post-Second World War Britain and the re-telling of Robert Louis Stevenson’s The Body Snatcher","authors":"P. Frith","doi":"10.1386/HOST.9.1.7_1","DOIUrl":"https://doi.org/10.1386/HOST.9.1.7_1","url":null,"abstract":"Existing research on British censorship during the 1940s has often favoured the notion that a so-called ‘H’ ban effectively upheld the import, production, and exhibition of the horror film in Britain during the later-half of the Second World War. However, through an analysis of contemporary critical reception and censorship discourses, it becomes apparent how this ‘ban’ was nowhere near as clearly defined as is often argued. While the ‘H’ ban may have succeeded in barring a small number of low-brow fantasy horror films from cinema screens the genre prevailed in various guises, with the films of producer Val Lewton bringing about a shift away from fantasy towards representations of the everyday. Furthermore, the role of the script supervisor at the British Board of Film Censors clearly demonstrates an alternative to censorship through an involvement with the studios prior to production in order to avoid such restrictions. This article therefore presents an analysis of such negotiations at the BBFC during this period, with Lewton production of The Body Snatcher (Wise, 1945) representing an example of how horror remained a fixture on British screens, through both self-censorship and a move away from the type of film typically associated with the ‘H’ classification.","PeriodicalId":41545,"journal":{"name":"Horror Studies","volume":"9 1","pages":"7-19"},"PeriodicalIF":0.2,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/HOST.9.1.7_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47127427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

‘Instant Junk’: The Thing (1982), the box-office gross factor, and reviews from another world 《即时垃圾》（Instant Junk:The Thing）（1982），票房毛因素，以及来自另一个世界的评论

IF 0.2

Horror Studies Pub Date : 2018-04-01 DOI: 10.1386/host.9.1.99_1

V. Barnett

引用次数: 2

Bram Stoker’s Dracula: Breaking the imperial-anthropological time 布拉姆·斯托克的《德古拉:打破帝国人类学时代》

IF 0.2

Horror Studies Pub Date : 2018-04-01 DOI: 10.1386/HOST.9.1.119_1

Gustavo Generani

引用次数: 0

Murder, medium and manipulation in the metropolis 大都市里的谋杀，媒介和操纵