By Katarina Gregersdotter, Johan Höglund, Nicklas Hållén

This primary full-length scholarly examine approximately animal horror cinema defines the preferred subgenre and describes its foundation and background within the West. The chapters discover a number of animal horror motion pictures from a couple of diversified views. this is often an essential learn for college students and students of cinema, horror and animal stories.

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Extra info for Animal Horror Cinema: Genre, History and Criticism

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Quirke, A. (2002) Jaws. London: British Film Institute. Rasmussen, R. (2014) Psycho, the Birds and Halloween. The Intimacy of Terror in Three Classic Films. Jefferson, NC: McFarland. Rony, F. T. (1996) The Third Eye: Race, Cinema and Ethnographic Spectacle. Durham, NC and London: Duke University Press. Rubey, D. (1976) The Jaws in the Mirror. Jump Cut. 10 (11). pp. 20–23. [Online] February 10. html. Skal, D. J. (1993) The Monster Show: A Cultural History of Horror. London: Plexus. 3 ‘They are a fact of life out here’: The Ecocritical Subtexts of Three Early-Twenty-First-Century Aussie Animal Horror Movies Michael Fuchs In his book Animal Nation (2006), Adrian Franklin highlights the ways in which Australia’s wildlife has played an important role in the negotiation of Australians’ national identity.

A Selig film’, Mitman points out, ‘was a “blood curdling romance of the dangerous animal infested jungleland of Africa,” where in every thicket there may lurk a ravenous or a savage foe’ (p. 10). The formula introduced by Selig encouraged the production of a number of ethnographic semidocumentaries that often portray animals as ravenous and dangerous, 24 Katarina Gregersdotter, Nicklas Hållén and Johan Höglund and which frequently conflate the indigenous populations of Africa or Asia with these animals.

1). Frémiet’s 1887 sculpture is placed just at the point when cinema emergences as a technology and an art form, and constitutes a form of bridge between pre-cinematic representations of the horrific animal and the representations that cinema then furnishes. 1 Emmanuel Frémiet’s 1887 sculpture Gorille enlevant une femme A History of Animal Horror Cinema 21 new concerns that become central to the animal horror films that this volume discusses. The representation of the animal as aggressive and violent follows a tradition of representation that can be traced back to the very origins of the West.

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