A Companion to the Horror Film by Harry M. Benshoff

By Harry M. Benshoff

This state-of-the-art assortment positive factors unique essays by means of eminent students on one among cinema's such a lot dynamic and enduringly well known genres, masking every thing from the heritage of horror video clips to the most recent serious approaches.
Contributors contain a number of the best lecturers operating within the box, in addition to interesting more youthful scholars
Varied and complete insurance, 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 methods, distribution, artwork apartment cinema, ethnographic surrealism, and horror's relation to documentary movie practice
A thorough remedy of this dynamic movie style suited for students and fanatics alike

Show description

By Harry M. Benshoff

This state-of-the-art assortment positive factors unique essays by means of eminent students on one among cinema's such a lot dynamic and enduringly well known genres, masking every thing from the heritage of horror video clips to the most recent serious approaches.
Contributors contain a number of the best lecturers operating within the box, in addition to interesting more youthful scholars
Varied and complete insurance, 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 methods, distribution, artwork apartment cinema, ethnographic surrealism, and horror's relation to documentary movie practice
A thorough remedy of this dynamic movie style suited for students and fanatics alike

Show description

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These films (the procedural also appeared at this time in radio and television series, like Dragnet and The Lineup, and detective fiction) dealt like film noir with the world of crime but focused less on the plights of individual criminals (as in Double Indemnity or The Postman Always Rings Twice) or on private investigators (as in The Big Sleep) and concentrated instead on the procedures by which governmental agents (whether members of municipal police forces or national agencies) acted in coordinated groups to solve crime.

An alternate title for Gun Crazy, Deadly is the Female, encapsulates this perception. Out of the Past provides a useful instance. Jeff (Robert Mitchum) is a private detective hired by a gangster, Whit (Kirk Douglas), to locate his girlfriend, Kathie (Jane Greer), who has both shot him and stolen $40,000 from him. Jeff finds her but she seduces him and they run off together. He thereby reneges on his professional responsibility to Whit. When Jeff’s partner tracks them down, Kathie kills the partner and returns to Whit.

The movie’s frame story resembles a utopian documentary. In its prologue, a “Voice of God” narrator describes the duties and advanced technology of Treasury agents and we see well-lit, documentary footage of the monumental US Treasury Building in Washington, DC and work being done in its sophisticated, state-of-the-art crime laboratories. An actual Treasury Department official, Elmer Lincoln Irey (who was also known at the time as the director of the Internal Revenue Service’s lead investigation unit during the successful federal tax evasion prosecution of the notorious gangster Al Capone), directly addresses the viewer to provide the historical context for the film’s events (Plates 12 and 13).

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