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Dark Directions: Romero, Craven, Carpenter, and the Modern Horror Film | [Kendall R. Phillips]

Dark Directions: Romero, Craven, Carpenter, and the Modern Horror Film

A Nightmare on Elm Street. Halloween. Night of the Living Dead. These films have been indelibly stamped on moviegoers' psyches and are now considered seminal works of horror. Guiding readers along the twisted paths between audience, auteur, and cultural history, author Kendall R. Phillips reveals the macabre visions of these films' directors in Dark Directions: Romero, Craven, Carpenter, and the Modern Horror Film.
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Publisher's Summary

A Nightmare on Elm Street. Halloween. Night of the Living Dead. These films have been indelibly stamped on moviegoers' psyches and are now considered seminal works of horror. Guiding readers along the twisted paths between audience, auteur, and cultural history, author Kendall R. Phillips reveals the macabre visions of these films' directors in Dark Directions: Romero, Craven, Carpenter, and the Modern Horror Film.

Phillips begins by analyzing the works of George Romero, focusing on how the body is used cinematically to reflect the duality between society and chaos, concluding that the unconstrained bodies of the Living Dead films act as a critical intervention into social norms.

Phillips then explores the shadowy worlds of director Wes Craven. In his study of the films The Serpent and the Rainbow, Deadly Friend, Swamp Thing, Red Eye, and Shocker, Phillips reveals Craven's vision of technology as inherently dangerous in its ability to cross the gossamer thresholds of the gothic.

Finally, the volume traverses the desolate frontiers of iconic director John Carpenter. Through an exploration of such works as Halloween, The Fog, and In the Mouth of Madness, Phillips delves into the director's representations of boundaries - and the haunting consequences for those who cross them.

The first volume ever to address these three artists together, Dark Directions is a spine-tingling and thought-provoking study of the horror genre. In analyzing the individual works of Romero, Craven, and Carpenter, Phillips illuminates some of the darkest minds in horror cinema.

©2012 Board of Trustees, Southern Illinois University (P)2012 Redwood Audiobooks

What the Critics Say

“Despite the powerful influence a number of their remarkable films continue to exercise, John Carpenter, Wes Craven, and George Romero do not often receive the sort of auteurist analysis provided by Dark Directions. This book will be especially eye-opening for those relatively unfamiliar with the careers of these underappreciated directors, as Kendall Phillips describes their work in ways that encourage the reader to seek out the films for a closer look.” (Adam Lowenstein, University of Pittsburgh, author of Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film)

“In Dark Directions, Kendall Phillips offers scrupulous readings of the film rhetorics of auteurs George Romero, Wes Craven, and John Carpenter, showing how they engage the anxieties of contemporary culture in thematic explorations of the body (Romero), the Gothic (Craven), and the frontier (Carpenter).” (Thomas W. Benson, Penn State University)

Dark Directions makes good on its promise to place Carpenter, Craven, and George Romero within the pantheon of important '70s filmmakers. Discussing the themes and storytelling abilities of each director, Phillips has a definitive case for their inclusion with the likes of Martin Scorcese in terms of influence.” (Nick Spacek)

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    "Some decent analysis if you can stay awake"

    The first challenge that I had with this book was making it past the almost two hours of the author telling me what he was GOING to talk about before actually getting to the content in earnest. The analysis of each work feels a bit stretched. Reminds me of when I was in college and tried to BS my way through a essay by applying small amounts of theory and stretching them in an effort to substantiate my position. The narrator is un-enthused which adds to the pain. Especially grating is the attempt to speak with an Austrian accent when quoting Freud. All in all there are some worthwhile nuggets, but the work as a whole left me feeling 'MEH'

    1 of 1 people found this review helpful
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