- Tapa dura: 202 páginas
- Editor: University of California Press; Edición: 1 (3 de agosto de 2007)
- Idioma: Inglés
- ISBN-10: 0520251210
- ISBN-13: 978-0520251212
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
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Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre (Inglés) Tapa dura – 3 ago 2007
Descripción del producto
"Rich, insightful book... A poetic and clever analysis, presenting impressive historical scholarship with panache."--Choice "Well-researched and persuasive... Uncanny Bodies impressively persuades one to think anew about films."--Film Quarterly "Original and stimulating."--Image & Narrative "Spadoni's analysis is intriguing."--Metro Newspapers "Contributes substantially to the history of film sound as well as the history of classic horror cinema... Lucid, accessible prose."--Hist Journal of Film, Rad, Tv
Reseña del editor
In 1931 Universal Pictures released "Dracula" and "Frankenstein", two films that inaugurated the horror genre in Hollywood cinema. These films appeared directly on the heels of Hollywood's transition to sound film. "Uncanny Bodies" argues that the coming of sound inspired more in these massively influential horror movies than screams, creaking doors, and howling wolves. A close examination of the historical reception of films of the transition period reveals that sound films could seem to their earliest viewers unreal and ghostly. By comparing this audience impression to the first sound horror films, Robert Spadoni makes a case for understanding film viewing as a force that can powerfully shape both the minutest aspects of individual films and the broadest sweep of film production trends, and for seeing aftereffects of the temporary weirdness of sound film deeply etched in the basic character of one of our most enduring film genres.Ver Descripción del producto
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The book cites many primary sources and critical writing of the era to shed light on the uncertain responses of a 1931 viewer to the novelty of sound film, and does an excellent job supporting its thesis that the producers of "Dracula" and "Frankenstein" played off of their audience's experiences of early sound films to heighten the terror of the living dead who are threatening the protagonists. Well-written and accessible, while exhaustively researched and remaining very academic, Spadoni's book uses reception study to reveal a lot about the often hailed, derided, and misunderstood early horror masterpieces.