Inventive new methods of audio-visual mediation and aesthetic activism have been giving shape, since at least the mid-2000s, to feelings of despair, disappointment, and rage at the injustice that South Africa's colonial and apartheid histories continue to trail in their wake.
In 1980s India, the Ramsay Brothers and other filmmakers produced a wave of horror movies about soul-sucking witches, knife-wielding psychopaths, and dark-caped vampires.
An indispensable resource for students and researchers of paranormal myth and media, this book explores the undead and unholy in literature, film, television, and popular culture.
The horror genre mirrors the American queer experience, both positively and negatively, overtly and subtextually, from the lumbering, flower-picking monster of Frankenstein (1931) to the fearless intersectional protagonist of the Fear Street Trilogy (2021).
As properties of DC comics continue to sprout over the years, narratives that were once kept sacrosanct now spill over into one another, synergizing into one bona fide creative Universe.
While students and general readers typically cannot relate to esoteric definitions of science fiction, they readily understand the genre as a literature that characteristically deals with subjects such as new inventions, space, robot and aliens.
During the 2010s, science fiction's immortal adversaries King Kong and Godzilla, representing our conflicts per Carl Sagan's "e;dream dragons"e; analogy, made comebacks in American cinema.
Since the release in 1929 of a popular book series with bright yellow covers, the Italian word giallo (yellow) has come to define a whole spectrum of mystery and detective fiction and films.
Controversial yet beloved among audiences, Christmas-themed horror movies emerged in the early 1970s and gained a notorious reputation with Silent Night, Deadly Night (1984), depicting Santa as an ax-wielding maniac.
Today, it seems as if everyone from heroic-yet-angsty teenagers, to giggling schoolgirls, to middle-aged businessmen, to bored moms are finding themselves whisked away to save distant worlds from some kind of unspeakable evil.
Faith horror refers to a significant outcropping of mid-1960s and 1970s films and adaptative novels that depict non-Christian communities of evil doers and their activities.
Like a lovingly guided midnight tour, this book covers the seductive shadows of the most fascinating horror films and melodramas from the 1930s and 1940s.
The original Star Wars trilogy famously follows Joseph Campbell's model for the hero's journey, making Luke Skywalker's story the new hero quest for a modern age.
An auteur and the creator of multiple cinematic universes, James Wan has become one of the most successful directors in history, his films breaking box office records worldwide.
In October 1957, Screen Gems made numerous horror movies available to local television stations around the country as part of a package of films called Shock Theater.
In 1968, George Romero's film Night of the Living Dead premiered, launching a growing preoccupation with zombies within mass and literary fiction, film, television, and video games.
This book begins at the intersection of Dracula and War of the Worlds, both published in 1897 London, and describes the settings of Transylvania, Mars, and London as worlds linked by the body of the vampire.
Breaking box office records, the Marvel Cinematic Universe has achieved an unparalleled level of success with fans across the world, raising the films to a higher level of narrative: myth.
With fresh appraisals of popular Westerns, this book examines the history of the genre with a focus on definitional aspects of canon, adaptation and hybridity.
Late 19th century science fiction stories and utopian treatises related to morals and attitudes often focused on economic, sociological and, at times Marxist ideas.
