000			03546cam a2200337 i 4500
001			021010188
003			APU
005			20231006114024.0
008			130822s2014 msua b 001 0 eng
010			_a2013028815
016	7		_a016644427 _2Uk
020			_a9781496802545 (paperback)
035			_a(OCoLC)856861088
040			_aDLC _beng _erda _cDLC _dTY
042			_apcc
043			_an-us---
050	0	0	_aPN1995.9.H6 _bR625 2014
082	0	0	_a791.43/6164 _223
100	1		_aRoche, David, _d1976- _eauthor. _948662
245	1	0	_aMaking and remaking horror in the 1970s and 2000s : _bwhy don't they do it like they used to? / _cDavid Roche.
300			_avii, 335 pages : _billustrations ; _c24 cm.
504			_aIncludes bibliographical references and index.
505	0		_aIntroduction -- Text, subtext, and context -- (Dis)connecting race, ethnicity, and class -- The (dys)functional American nuclear family -- Gender and sexual troubles -- (Re)situating and (re)playing the genre -- Monsters and masks (horror and terror, part 1) -- Strategies and style (horror and terror, part 2) -- Constraints and verisimilitude: a tentative conclusion.
520			_aIn Making and Remaking Horror in the 1970s and 2000s author David Roche takes up the assumption shared by many fans and scholars that original horror movies are more "disturbing," and thus better than the remakes. He assesses the qualities of movies, old and recast, according to criteria that include subtext, originality, and cohesion. With a methodology that combines a formalist and cultural studies approach, Roche sifts aspects of the American horror movie that have been widely addressed (class, the patriarchal family, gender, and the opposition between terror and horror) and those that have been somewhat neglected (race, the Gothic, style, and verisimilitude).
520			_aContaining seventy-eight black and white illustrations, the book is grounded in a close comparative analysis of the politics and aesthetics of four of the most significant independent American horror movies of the 1970s--The Texas Chain Saw Massacre, The Hills Have Eyes, Dawn of the Dead, and Halloween--and their twenty-first-century remakes. To what extent can the politics of these films be described as "disturbing" insomuch as they promote subversive subtexts that undermine essentialist perspectives? Do the politics of the film lie on the surface or are they wedded to the film's aesthetics? Early in the book, Roche explores historical contexts, aspects of identity (race, ethnicity, and class), and the structuring role played by the motif of the American nuclear family.
520			_aHe then asks to what extent these films disrupt genre expectations and attempt to provoke emotions of dread, terror, and horror through their representations of the monstrous and the formal strategies employed? In this inquiry, he examines definitions of the genre and its metafictional nature. Roche ends with a meditation on the extent to which the technical limitations of the horror films of the 1970s actually contribute to this "disturbing" quality. Moving far beyond the genre itself, Making and Remaking Horror studies the redux as a form of adaptation and enables a more complete discussion of the evolution of horror in contemporary American cinema. -- Publisher.
650		0	_aHorror films _zUnited States _xHistory and criticism. _948663
650		0	_aFilm remakes _zUnited States _xHistory and criticism. _948664
942			_2lcc _cBook
999			_c383990 _d383990