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Murray Leeder

    Halloween
    Horror Film
    The Modern Supernatural and the Beginnings of Cinema
    • This study explores the connection between nineteenth-century supernatural themes and the early years of cinema, examining how film is perceived as a "ghostly" medium. It investigates historical elements like spirit photography and the work of filmmakers such as Georges Méliès, making it essential for those interested in cinema's history and supernatural influences.

      The Modern Supernatural and the Beginnings of Cinema
    • Horror Film

      • 288 pages
      • 11 hours of reading

      Throughout the history of cinema, horror has proven to be a genre of consistent popularity, which adapts to different cultural contexts while retaining a recognizable core. This volume balances the discussions of horror's history, theory, and aesthetics as no introductory book ever has. Featuring studies of films both obscure and famous, it is international in its scope and chronicles horror from its silent roots until today

      Horror Film
    • Halloween

      • 110 pages
      • 4 hours of reading
      3.7(28)Add rating

      The 1970s represented an unusually productive and innovative period for the horror film, and John Carpenter’s Halloween (1978) is the film that capped that golden age – and some say ruined it, by ushering in the era of the slasher film. Considered a paradigm of low-budget ingenuity, its story of a seemingly unremarkable middle-American town becoming the site of violence on October 31 struck a chord within audiences. The film became a surprise hit that gave rise to a lucrative franchise, and it remains a perennial favourite. Much of its success stems from the simple but strong constructions of its three central characters: brainy, introverted teenager Laurie Strode, a late bloomer compared to her more outgoing friends, Dr. Loomis, the driven, obsessive psychiatrist, and Michael Myers, the inexplicable, ghostlike masked killer. Film scholar Murray Leeder offers a bold and provocative study of Carpenter’s film, which hopes to expose qualities that are sometime effaced by its sequels and remakes. It explores Halloween as an unexpected ghost film, and examines such subjects as its construction of the teenager, and the relationship of Halloween the film to Halloween the holiday, and Michael Myers’s brand of “pure evil.” It is a fascinating read for scholars and fans alike.

      Halloween