Pub Date : 2019-03-13DOI: 10.1108/978-1-78769-897-020191004
Irene Baena-Cuder
Abstract The Spanish lycanthrope arrived successfully to Spanish screens with The Mark of the Wolfman (Eguiluz, 1968), introducing iconic actor and scriptwriter Paul Naschy as werewolf Waldemar Daninsky. This persona would be later developed in more depth in The Werewolf Versus the Vampire Woman (Klimovsky, 1970) and Curse of the Devil (Aured, 1972). Furthermore, Daninsky’s construction responded to the historical repressive context of Francoist Spain, and the strong ideal of masculinity imposed and promoted under the fascist regime (Pulido, 2012). After a long hiatus in the horror genre, the more recent film Game of Werewolves (Martinez Moreno, 2011) revisits the figure of the Spanish lycanthrope by introducing two different sets of characters embodying two different types of masculinity and, more significantly, by linking the strong, traditional male identity to the myth of the werewolf, paying homage to Waldemar Daninsky. Thus, through the film’s historically contextualized textual analysis, the chapter seeks to study the myth of the werewolf in twenty-first-century Spain, in relation to the changes in the masculine identity and the historical context to which it refers, exploring the struggle of men to move from the traditional male identity imposed during the dictatorship to a more progressive one.
《狼人的印记》(The Mark of The Wolfman, Eguiluz, 1968)成功地将西班牙的狼人带到了西班牙的银幕上，由著名演员兼编剧保罗·纳西(Paul Naschy)饰演狼人瓦尔德马尔·达尼斯基(Waldemar Daninsky)。这个角色后来在《狼人大战吸血鬼女》(克里莫夫斯基，1970年)和《魔鬼的诅咒》(奥雷德，1972年)中得到了更深入的发展。此外，Daninsky的建构回应了佛朗哥统治下的西班牙的历史压迫背景，以及法西斯政权强加和促进的强烈的男子气概理想(Pulido, 2012)。在恐怖片沉寂了很长一段时间之后，最近的电影《狼人的游戏》(马丁内斯·莫雷诺，2011)重新审视了西班牙狼人的形象，引入了两组不同的角色，体现了两种不同类型的男性气质，更重要的是，通过将强大的传统男性身份与狼人的神话联系起来，向瓦尔德马尔·达尼斯基致敬。因此，通过电影的历史语境文本分析，本章试图研究21世纪西班牙的狼人神话，与男性身份的变化和它所涉及的历史背景有关，探索男性从独裁统治时期强加的传统男性身份向更进步的男性身份转变的斗争。
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Pub Date : 2019-03-13DOI: 10.1108/978-1-78769-897-020191002
M. Mcgillvray
Abstract The horror genre is and always has been populated by women, who can be seen to be at once both objectified and empowered. Building off the preexisting gender hierarchies and dynamics embedded in the history of horror cinema, this chapter looks at a number of New French Extremity films that assault audiences with unrelenting scenes of violence, torture and self-mutilation, which are performed almost exclusively upon or by women. Although the films of the New French Extremity have been dismissed as exploitative in their representations of wounded and suffering female bodies, their narratives also offer internal criticisms of the misogynistic portals of victimhood that are prevalent in the genre. Through a close analysis of the films Inside (Bustillo & Maury, 2007) (French title: A L’interieur) and Martyrs (Laugier, 2008), this chapter will examine how both films deviate from the male monster/female victim dichotomy. Although the women of these films may start off vulnerable, they take charge of their situations, while also compacting the nature of feminine identity.
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Pub Date : 2019-03-13DOI: 10.1108/978-1-78769-897-020191003
F. Berns, Diego Foronda
{"title":"Elegiac Masculinity inBubba Ho-TepandLate Phases","authors":"F. Berns, Diego Foronda","doi":"10.1108/978-1-78769-897-020191003","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191003","url":null,"abstract":"","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"642 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127847741","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}
Pub Date : 2019-02-25DOI: 10.1108/978-1-78769-897-020191017
{"title":"Index","authors":"","doi":"10.1108/978-1-78769-897-020191017","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191017","url":null,"abstract":"","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128133121","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}
Pub Date : 1900-01-01DOI: 10.1108/978-1-78769-897-020191012
N. Brennan
Abstract While horror film is hardly new to Latin America, film scholars have largely emphasized the paradigms of socially engaged, ‘serious cinema’ over exploring how genre, cult or other transgressive film-making modes have developed in and reflect the region (Tierney, 2014). To characterize Latin American horror, it is typified by the supernatural, which indeed contradicts serious cinema. Since about 2010, however, Latin American film-makers have revisited the ‘abduction’ subgenre of horror film. This chapter analyses three such films – Scherzo Diabolico (Garcia Bogliano, 2015), Luna de Miel (Cohen, 2015) and Sudor Frio (Garcia Bogliano, 2010) – to suggest how their representations of gender and class complicate assumptions about everyday life in the region. The chapter also interrogates how this revived mode of horror film-making reconfigures gender ideologies to challenge the Latin American sociopolitical structures of machismo and patriarchy. By integrating conceptualizations of hybridity with transnational views on horror film-making and Freeland’s (1996) reworked feminist strategy for analysing horror texts, this chapter argues that, in tandem with new means of accessing and viewing Latin American horror globally, we should rethink how the abduction subgenre reflects new realities of Latin American society.
{"title":"Gender Ideologies, Social Realities and New Technologies in Recent Latin American ‘Abduction’ Horror","authors":"N. Brennan","doi":"10.1108/978-1-78769-897-020191012","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191012","url":null,"abstract":"Abstract \u0000While horror film is hardly new to Latin America, film scholars have largely emphasized the paradigms of socially engaged, ‘serious cinema’ over exploring how genre, cult or other transgressive film-making modes have developed in and reflect the region (Tierney, 2014). To characterize Latin American horror, it is typified by the supernatural, which indeed contradicts serious cinema. Since about 2010, however, Latin American film-makers have revisited the ‘abduction’ subgenre of horror film. This chapter analyses three such films – Scherzo Diabolico (Garcia Bogliano, 2015), Luna de Miel (Cohen, 2015) and Sudor Frio (Garcia Bogliano, 2010) – to suggest how their representations of gender and class complicate assumptions about everyday life in the region. The chapter also interrogates how this revived mode of horror film-making reconfigures gender ideologies to challenge the Latin American sociopolitical structures of machismo and patriarchy. By integrating conceptualizations of hybridity with transnational views on horror film-making and Freeland’s (1996) reworked feminist strategy for analysing horror texts, this chapter argues that, in tandem with new means of accessing and viewing Latin American horror globally, we should rethink how the abduction subgenre reflects new realities of Latin American society.","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114700747","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}
Pub Date : 1900-01-01DOI: 10.1108/978-1-78769-897-020191014
Steven Gerrard
Abstract Up until the turn of the millennium, there had been very little positive representation of women and women in action characters in the action film genre. Two notable exceptions were Ellen Ripley in the Alien movies and Sarah Connor in the Terminator franchise. Whilst this has certainly changed over the last 20 years, one action/horror/science fiction heroine remains neglected: Project Alice in the six Resident Evil films. Portrayed by Milla Jovovich, and loosely based on the platform game character, Project Alice is strong, driven, motivated and tough. This chapter will, through detailed analysis of character, her physical presence through the clothing she wears, psychogeographical aspects, her use of weapons and narrative arc, clearly demonstrate the importance of Project Alice to the horror genre.
{"title":"“My Name Is Alice. And I Remember Everything.” Project Alice and Milla Jovovich in the Resident Evil Films","authors":"Steven Gerrard","doi":"10.1108/978-1-78769-897-020191014","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191014","url":null,"abstract":"Abstract \u0000Up until the turn of the millennium, there had been very little positive representation of women and women in action characters in the action film genre. Two notable exceptions were Ellen Ripley in the Alien movies and Sarah Connor in the Terminator franchise. Whilst this has certainly changed over the last 20 years, one action/horror/science fiction heroine remains neglected: Project Alice in the six Resident Evil films. Portrayed by Milla Jovovich, and loosely based on the platform game character, Project Alice is strong, driven, motivated and tough. This chapter will, through detailed analysis of character, her physical presence through the clothing she wears, psychogeographical aspects, her use of weapons and narrative arc, clearly demonstrate the importance of Project Alice to the horror genre.","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132950599","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}
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