This book explores horror film franchising from a broad range of interdisciplinary perspectives and considers the horror film's role in the history of franchising and serial fiction.
This book explores horror film franchising from a broad range of interdisciplinary perspectives and considers the horror film's role in the history of franchising and serial fiction.
Mark McKenna is Lecturer in Film, Television and Radio at Staffordshire University, UK. William Proctor is Principal Lecturer in Comics, Film & Transmedia at Bournemouth University, UK.
Inhaltsangabe
Introduction. The Death and Resurrection Show: Horror Franchise Cinema and the Romanticization of Cult; 1. Building Imaginary Horror Worlds: Transfictional Storytelling and the Universal Monster Franchise Cycle; Section I: Slasher and Post-Slashers; 2. The Texas Chainsaw Massacre: A 'Peculiar, Erratic' Franchise; 3. If I Were a Carpenter: Prestige and Authorship in the Halloween Franchise; 4. If Nancy Doesn't Wake Up Screaming: The Elm Street Series as Recurring Nightmare; 5. Allowing 'Us Just to LIVE There': Atmosphere and Audience Evaluation of the Alien Film Series; Section II: Millennial Franchises; 6. Cut-Price Creeps: The Blumhouse Model of Horror Franchise Management; 7. When the Subtext Becomes Text: The Purge Takes on the American Nightmare; Section III: Cult Franchises; 8. "What Film is Your Film Like"? Negotiating Authenticity in the Distributive Seriality of the Zombi Franchise; 9. Horror Heroine or Symbolic Sacrifice: Defining the I Spit on Your Grave Franchise as Horror; Section IV: Complicating Franchising; 10. Seriality between the Horror Franchise and the Horror Anthology Film; 11. When is a Franchise Not a Franchise: The Case of Let the Right One In; 12. 'A Match Made in Heaven (or Hell)': Franchise Experiments Between the Horror Film Genre and Virtual Reality Media (2014-2020)
Introduction. The Death and Resurrection Show: Horror Franchise Cinema and the Romanticization of Cult; 1. Building Imaginary Horror Worlds: Transfictional Storytelling and the Universal Monster Franchise Cycle; Section I: Slasher and Post-Slashers; 2. The Texas Chainsaw Massacre: A 'Peculiar, Erratic' Franchise; 3. If I Were a Carpenter: Prestige and Authorship in the Halloween Franchise; 4. If Nancy Doesn't Wake Up Screaming: The Elm Street Series as Recurring Nightmare; 5. Allowing 'Us Just to LIVE There': Atmosphere and Audience Evaluation of the Alien Film Series; Section II: Millennial Franchises; 6. Cut-Price Creeps: The Blumhouse Model of Horror Franchise Management; 7. When the Subtext Becomes Text: The Purge Takes on the American Nightmare; Section III: Cult Franchises; 8. "What Film is Your Film Like"? Negotiating Authenticity in the Distributive Seriality of the Zombi Franchise; 9. Horror Heroine or Symbolic Sacrifice: Defining the I Spit on Your Grave Franchise as Horror; Section IV: Complicating Franchising; 10. Seriality between the Horror Franchise and the Horror Anthology Film; 11. When is a Franchise Not a Franchise: The Case of Let the Right One In; 12. 'A Match Made in Heaven (or Hell)': Franchise Experiments Between the Horror Film Genre and Virtual Reality Media (2014-2020)
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