By Harry M. Benshoff
This state of the art assortment positive factors unique essays via eminent students on certainly one of cinema's so much dynamic and enduringly well known genres, protecting every little thing from the heritage of horror video clips to the newest severe approaches.
Contributors comprise the various most interesting teachers operating within the box, in addition to fascinating more youthful scholars
Varied and complete assurance, from the historical past of horror to broader problems with censorship, gender, and sexuality
Covers either English-language and non-English horror movie traditions
Key issues comprise horror movie aesthetics, theoretical techniques, distribution, artwork condominium cinema, ethnographic surrealism, and horror's relation to documentary movie practice
A thorough remedy of this dynamic movie style suited for students and lovers alike
Read or Download A Companion to the Horror Film PDF
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Additional info for A Companion to the Horror Film
I want to discover whether ways of seeing in the ﬁlms mirror God’s way of relating and whether Artemisia’s and Sally’s gazes might be thought to represent a God who casts a loving eye onto the world. It will become clear in my discussion of the ﬁlms later on that not all ﬁlms directed by women present a different way of looking simply by virtue of the fact that they are directed by a woman. In fact, Artemisia, as will be illustrated, differs from The Tango Lesson in its illustration of the act of seeing.
Surely, however, women are capable of seeing more than their own bodies. The question what it means for a woman to see must mean not only how she sees herself but also how she sees male and female bodies, how she sees the world. Only in this way can women have a stake in representation. When I ask what it means for women to see, I ask not only how a female ﬁlmmaker, or a female character within the screen space, might see her own body or that of other women, but also how she sees people, things, and nature, and what her look does for those looked at.
45 Lacan argues this point in various steps. First, he makes a distinction between the eye and the gaze. He then establishes that this split determines the I, that the I, in fact, is dependent on this split in order to maintain its own identity. In a third step, Lacan argues that through this split the I becomes aware of its own visibility to the gaze and of its lack of power in comparison with the gaze. The eye, Lacan concludes, needs to look in a voracious way in order to fulﬁll the needs of the I, and yet it only ever looks in envy onto a completeness to which it has no access.