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Full Description
Ten years after the publication of Style and Form in the Hollywood Slasher Film critic, scholar, and filmmaker Wickham Clayton returned to edit this follow-up to that book. Style and Form in the Hollywood Slasher Film emerged at the start of a new age of critical attention to a subgenre that has been considered critically disreputable, but has maintained significant cultural relevance and popularity. Here is Style and Form in the Slasher Film II: Beyond Hollywood, a volume that turns the attention of film form and style towards films made outside of the Hollywood system, looking not only at the greater United States, but to North America, South America, Africa, Asia, and Europe.
Style and Form in the Slasher Film II: Beyond Hollywood brings together an exciting range of scholars both experienced and new, to revisit well-established case studies, more recent and lesser-examined case studies, and international industries that create movies with formal connections to the slasher subgenre of horror. Furthermore, expanding upon the thesis hinted at in Style and Form in the Slasher Film, this follow-up makes a firmer, clearer argument for the integration of formalist methodologies to explore cultural texts in light of their socio-political contexts, arguing that through understanding how these films tell their stories we can better extrapolate what they mean for our political past, present and future both locally and globally.
Contents
.- Introduction.- Part I: SLASHER AESTHETICS AND STYLE.- 1. Slasher aesthetics: a formal evaluation of Tobe Hooper's The Texas Chain Saw Massacre (1974) 2. Kiyoshi Kurosawa's Cure: A Formalist interpretation of Japanese Slasher Film. 3. SHOCK! - Slasher Film on the Agony of Brazilian Exploitation.- Part II: NATIONAL SLASHERS AND INDUSTRIES.- 4. The first French slasher: a close reading of Promenons-nous dans les bois - Reece Goodall.- 5. Historical Developments in Nollywood Slasher Cycles - Ucheyamere Nkwam-Uwaoma.- 6. The Slasher Film in Ireland: Searching for Irish Slasher Films - Karen Smith.- 7. The masked killer as a guardian of traditional identity. Contemporary Spanish rural slasher - Víctor Hernández-Santaolalla.- Part III: TERROR TROPES.- 8. Creepy Telephone Voices in the Slasher Film. A Psychological Explanation of a Longstanding Device - Emilio Audissino.- 9. "She felt she was living in a video clip": Deterritorialization in Sotto il vestito niente I and II - Fernando Gabriel Pagnoni Berns.- 10. The Fantasy of Whiteness and Masks in the Slasher Film - Michaela Wünsch.- 11. "First Girls" First: Feminist-Formalist Approaches to the Overlooked Women of Slasher Films - David Scott Diffrient.- 12. Be My Baby and Be My Witness: Black Final Girls Becoming Afrofuturist Survivors - Nicole Huff.- 13. "I've said goodbye to my boogeyman, but the truth is, evil doesn't die. It changes shape" - How the prototypical slasher no longer needs to perform a slash to make a splash - David Edwards.- Part IV: SLASHING ON A SHOESTRING.- 14. The 'Digital Underground' of Low-Budget, Retro-Slashers: Angelica De Alba and Paul Ragsdale's Streets of Vengeance (2016), Slashlorette Party (2020) and Murdercise (2023) - Alex Symons.- 15. "I Could Just Kill a Man!": Sarah Jacobson's I Was a Teenage Serial Killer (1993) and Underground Horror - Erica Tortolani.
