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The film sequel has been much maligned in popular culture as a vampirish corporative exercise in profit-making and narrative regurgitation. Drawing upon a wide range of filmic examples from early cinema to the twenty-first century, this exciting new volume reveals the increasing popularity of, and experimentation with, film sequels as a central dynamic of Hollywood cinema. Now creeping into world cinemas and independent film festivals, the sequel is persistently employed as a vehicle for cross-cultural dialogue and as a structure by which memories and cultural narratives can be circulated across geographical and historical locations. This book aims to account for some of the major critical contexts within which sequelisation operates by exploring sequel production beyond box office figures. Its account ranges across sequels in recent mainstream cinema, art-house and 'indie' sequels, non-Hollywood sequels, the effects of the domestic market on sequelisation, and the impact of the video game industry on Hollywood. The book: *Situates the sequel within its industrial, cultural, theoretical and global contexts. *Offers an essential resource for students and critics interested in film and literary studies, adaptation, critical theory and cultural studies. *Provides the first study of film sequels in world cinemas and independent film-making.

Film --- Film sequels. --- Motion picture industry --- Motion picture sequels --- Motion pictures --- Moving-picture sequels --- Sequels, Film --- Film series --- Sequels --- Cinéma --- Films d'horreur --- Cinéma indépendant --- Suites --- Histoire et critique --- Etats-Unis --- Suties --- Inde

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This book compares production and consumption of Asian horror cinemas in different national contexts and their multidirectional dialogues with Hollywood and neighboring Asian cultures.

Film --- Asia --- Horror films --- Films d'horreur --- History and criticism --- Cross-cultural studies --- Histoire et critique --- Etudes transculturelles --- Horror films -- Asia -- Cross-cultural studies. --- Horror films -- Asia -- History and criticism. --- Music, Dance, Drama & Film --- History and criticism. --- Spookfests (Motion pictures) --- Motion pictures --- Haunted house films --- Monster films

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In recent years, the representation of alternative sexuality in the horror film and television has 'outed' itself from the shadows from which it once lurked via the embrace of an outrageously queer horror aesthetic where homosexuality is often unequivocally referenced. In this book, Darren Elliott-Smith departs from the analysis of the monster as a symbol of heterosexual anxiety and fear, and moves to focus instead on queer fears and anxieties within gay male subcultures. Furthermore, he examines the works of significant queer horror film and television producers and directors to reveal gay men's anxieties about: acceptance and assimilation into Western culture, the perpetuation of self-loathing and gay shame, and further anxieties surrounding associations shameful femininity. This book focuses mainly on representations of masculinity and gay male spectatorship in queer horror film and television post-2000. In titling this sub-genre 'queer horror', Elliott-Smith designates horror that is crafted by male directors/producers who self-identify as gay, bi, queer or transgendered and whose work features homoerotic, or explicitly homosexual, narratives with 'out' gay characters.

Homosexuality and motion pictures. --- Homosexuality in motion pictures. --- Horror films --- Sex role in motion pictures. --- History and criticism. --- Motion pictures --- Motion pictures and homosexuality --- Horror films. --- Horrorfilm. --- Sex role in motion pictures --- Homosexuality in motion pictures --- Homosexuality and motion pictures --- Films d'horreur --- Homosexualité --- Rôle selon le sexe --- History and criticism --- À la télévision. --- Au cinéma. --- Carrie --- Homosexualité --- Rôle selon le sexe --- À la télévision. --- Au cinéma.

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In 1931 Universal Pictures released Dracula and Frankenstein, two films that inaugurated the horror genre in Hollywood cinema. These films appeared directly on the heels of Hollywood's transition to sound film. Uncanny Bodies argues that the coming of sound inspired more in these massively influential horror movies than screams, creaking doors, and howling wolves. A close examination of the historical reception of films of the transition period reveals that sound films could seem to their earliest viewers unreal and ghostly. By comparing this audience impression to the first sound horror films, Robert Spadoni makes a case for understanding film viewing as a force that can powerfully shape both the minutest aspects of individual films and the broadest sweep of film production trends, and for seeing aftereffects of the temporary weirdness of sound film deeply etched in the basic character of one of our most enduring film genres.

Horror films --- Sound motion pictures --- Films d'horreur --- Films sonores --- History and criticism. --- Histoire et critique --- 82:791.43 --- Literatuur en film --- Horror films - United States - History and criticism. --- Horror films. --- Sound motion pictures - History and criticism. --- Film --- Music, Dance, Drama & Film --- History and criticism --- 82:791.43 Literatuur en film --- Moving-pictures, Talking --- Talkies --- Talking motion pictures --- Motion pictures --- 20th century american culture. --- 20th century american film history. --- american culture. --- american film history. --- american movie history. --- audience reception. --- cinema. --- classic horror cinema. --- dark. --- dracula. --- early sound film. --- film studies. --- filmmaking. --- frankenstein. --- hollywood cinema. --- horror genre. --- horror movies. --- intense. --- modality. --- movie studies. --- sound film. --- svengali. --- the hollywood review of 1929. --- uncanny theater. --- united states of america. --- universal pictures. --- vampires. --- ventriloquism.