Explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves both as gendered individuals and as members of a particular nation-state.
Explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves both as gendered individuals and as members of a particular nation-state.
Linnie Blake is Senior Lecturer in Film, Manchester Metropolitan University
Inhaltsangabe
Introduction: traumatic events and international horror cinema I German and Japanese horror - the traumatic legacy of world war two II The traumatised 1970s and the threat of apocalypse now III: From Vietnam to 9/11: the Orientalist other and the American poor white IV: New Labour new horrors - the post-Thatcherite crisis of British masculinity Conclusions Bibliography Filmography Index
Introduction: traumatic events and international horror cinema I German and Japanese horror - the traumatic legacy of world war two II The traumatised 1970s and the threat of apocalypse now III: From Vietnam to 9/11: the Orientalist other and the American poor white IV: New Labour new horrors - the post-Thatcherite crisis of British masculinity Conclusions Bibliography Filmography Index
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