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	Horror Films in the 1980s
		Horror films have always dealt with the taboos surrounding Death, and in the 1980s they began to deal with evisceration, pulling apart the human body and turning it inside out, with all the bloody, slimy contents on display.
		The main demographic for audiences of horror movies in the 1980s was 15-24 year old and male; an audience seeking thrills as a rite-of-passage, seeking to prove that they have strong enough stomachs to sit through whatever the film-makers may throw at them.
		Horror movies were designed to appeal to aficionados of the genre and no one else, stuffed full of in-jokes and unnecessary, OTT gore.
	www.mediaknowall.com /Horror/eighties.html (1017 words)

	Kinoeye \| Italian Horror: Dario Argento's Phenomena (1985)
		The horror film subgenre most relevant to my focus on those adolescent anxieties associated with the change of the childhood body into an adult one is "body-horror." The monster in the body-horror film is not a creature external to us, but a human being with a body much like our own.
		Some adolescents experience their body as undergoing a metamorphosis during puberty, with accompanying anxieties about the loss of what was familiar, narcissistic wounds, and what to do with the new body, as represented in, for example, David Cronenberg's The Fly (1986).
		This is an excerpt from a longer paper, entitled "A psychoanalytic perspective on the horror film genre and adolescent development," read as part of the "Psychoanalysis and Euro-Horror" panel at the 1st European Psychoanalytic Film Festival (held in London, 1-4 November 2001).
	www.kinoeye.org /02/12/campbell12.php (2498 words)

	Body horror (Site not responding. Last check: 2007-10-18)
		Body horror is horror based on a sense of physical "wrongness" in the body.
		Bizarre birth defects and mutations are a common theme in body horror, as is unwanted physical transformation or invasion.
		Body horror often combines psychological horror with gore and other shocking imagery.
	www.jahsonic.com /BodyHorror.html (119 words)

	Pleasure, Perversion and Death 4.4 Becoming Horror (Site not responding. Last check: 2007-10-18)
		Horror remains after the initial jolt, as it demands continued consideration of both the self as flesh (opposed to body) and the disruptive (for bodies, for culture) in representation.
		Horror exists in much cinematic theory as that which destroys the watcher by representing the destruction of an on-screen body which is supposed to mirror the viewer’s body, thus horror performs a vital action in a theorization towards ethical post-modern subjectivity.
		Representing the body as traumatized, or horror as evil or bad for the self, not only ceases the flow of intensities and the potential intersections to come, but it pre-creates whatever body or horror it seeks to represent in order to fit into some schema elucidated by the adjective which precedes the term.
	www.cinestatic.com /trans-mat/MacCormack/PPD4-4.htm (5250 words)

	METAMUTE : M24: Web Exclusives (Site not responding. Last check: 2007-10-18)
		That body politic is not just anatomical (as it is in Hobbes), and not even immunological (as it is in the doctrines of eugenics and racial purity); the body politic in 28 Days Later is decidedly genetic, or better, it is a ‘molecular’ body politic.
		But body horror is not just about slasher movies, splatter horror, or monstrous metamorphoses; it is also pervasive in cultures which display an obsession over fitness crazes, extreme diets, fashion, cosmetic surgery, and pharmaceuticals.
		Thus body horror raises the issues of the estrangement of the body, its boundary-confusion, and its preoccupation with morphogenesis.
	www.metamute.com /look/article.tpl?IdLanguage=1&IdPublication=1&NrIssue=24&NrSection=5&NrArticle=932&ST_max=0 (3280 words)

	Mark Jancovich, American Horror from 1951 (Site not responding. Last check: 2007-10-18)
		The horror fiction of the post war period was certainly dependent on this previous work, but it began to free itself from a dependence on the Gothic elements of the earlier period, and tended to place its horrors firmly within the context of the modern world.
		The development of bourgeois society came to define the body as an inalienable form of private property which guaranteed individuals a sense of self; but as society was increasingly organized according to rational principles, the body came to be an object of rational control.
		By converting the human body into a mere vessel for their own reproduction, the aliens are also related to patriarchy which has traditionally defined women as a mere vessel for the reproduction of the male seed.
	www.baas.ac.uk /resources/pamphlets/pamphdets.asp?id=28 (18854 words)

	Kinoeye \| Finnish Horror: Auli Mantila's Pelon maantiede
		In recent, psychoanalytically-oriented cultural studies, the concept of the body is often understood as sociocultural artefact, a locus and site of representational production through which the subject gains his or her specific mode of corporeal subjectivity.
		According to this approach, the body and the city have a mutually defining relation: "the city is made and made over into the simulacrum of the body, and the body, in its turn, is transformed, 'citified', urbanized as a distinctively metropolitan body."[1]
		Furthermore, the body is a means of understanding the human order: the actions of the body can be interpreted by others and that experience teaches the subject what he is. This means that the subject lives in the world and is able to relate to others in it through his body.
	www.kinoeye.org /03/08/laine08.php (1932 words)

	Paradoxa: "Shudder As We Think: Reflections on Horror and/or Criticism"/Hantke
		The body may interfere with our critical faculties, or we may be only vaguely aware of the cultural interpolation between ourselves and our bodies, but we can never claim to be fully unthinking.
		Since papers on horror, and clips from horror films, are staples of academic conferences, and since not all such papers cause a such stir, one other factor must be added to explain the impact of cultural collisions that do cause a stir.
		What appears to confirm this suspicion is that the problem of horror and critical discourse is presented as one of mind versus matter, a dichotomy in which matter, i.e., bodily horror and our physical response to it, is a losing proposition.
	paradoxa.com /excerpts/17intro.htm (3432 words)

	Journal of Religion & Film: The Sanctification of Fear: Images of the Religious in Horro Films by Bryan Stone
		That is, of course, due (at least in part) to the fact that many of the central themes of horror films overlap with traditionally religious concerns (or at least Western religious concerns) such as sin and redemption, life after death, the struggle between evil and good, or the presence of the supernatural.
		When horror is at its best, it satisfies our curiosity about both the metaphysical and the psychological unknown while, at the same time, casting an unsettling light on the shadow elements both of the human condition and of the cosmos.
		Horror in the last century parallels this repression and eroticisation of, and inevitable fascination with, death.
	www.unomaha.edu /jrf/sanctifi.htm (6622 words)

	1980s Horror Movies
		Direct-to-video horror films were produced on the same basis as the AIP titles of the 1950s; a grotesque title, a gory tagline and a gruesome cover were all that was needed to get a video store-browsing customer to pick up the box and say "this one looks good".
		While the sequences inside the cabin revel in shlocky gore, with plenty of dismemberment and spurting blood, it is the exterior action, with the camera careening between the treestumps, that sticks in the mind.
		Horror appeared to be good box office business in the 1980s, so much so that there are a couple of big-budget family-orientated entries to the genre.
	www.horrorfilmhistory.com /decades/1980s.html (4300 words)

	USATODAY.com - 'Horror movie' body count reaches 191 in Georgia (Site not responding. Last check: 2007-10-18)
		Some corpses were found in body bags, while others were dressed in clothing or hospital gowns or wrapped in sheets, said Kris Sperry, the state's chief medical examiner.
		Relatives of Doris Mae Tierney of Cleveland, Tenn., whose body was to be cremated at Tri-State after her 2000 death, sued the crematory Tuesday and the funeral home that handled her body.
		Investigators have said Marsh told them the bodies were not cremated because the incinerator was broken.
	www.usatoday.com /news/nation/2002/02/19/crematory.htm (652 words)

	Henry Jenkins
		Many horror auteurs are less interested in scaring us with a glimpse of forbidden knowledge than they are with critiquing institutions, like the family or the state, which seek to regulate sexuality and eradicate difference.
		The most hardcore segments of the horror audience are, in effect, avant-garde in their tastes, with fanzine critics functioning as the low culture counterpart of arts journals in identifying and interpreting what is distinctive about emerging figures within the genre.
		She writes, "The body spectacle is featured most sensationally in pornography's portrayal of orgasm, in horror's portrayal of violence and terror, and in melodrama's portrayal of weeping." In other words, each of these body genres depend ultimately on the sounds and images of bodies out of control, "beside themselves" with pleasure, fear, or sadness.
	web.mit.edu /cms/People/henry3/horror.html (6068 words)

	UNSPEAKABLE + BODY PARTS - DVDs
		Body Parts was lost behind the genre steamroller of Jonathan Demme's pointedly populist The Silence of the Lambs (another 1991 film about body dimorphism and the transference of evil) but bests it in hindsight in terms of its leanness and flat, whacked-out nastiness.
		Body Parts is fascinating--and ugly, too, forming with Demme's film and John McNaughton's The Borrower an unusually unpleasant trilogy of guignol melodramas to usher in the decade of the '90s.
		Body Parts, on the other hand (so to speak), comes to DVD with absolutely no extras but in a presentation that blows the socks off of most "dumped" titles.
	www.filmfreakcentral.net /dvdreviews/unspeakablebodyparts.htm (1582 words)

	BOO!!! Horror effect in a game... By MoonHunter
		Blood flow is concentrated internally to the muscles and brain, instead of at the skin and extremities, and blood increases its tendency to coagulate, to prevent blood loss in case of an injury.
		Spells and swordplay suddenly seem pointless in the horror campaign, most times we are epic, or at least heroic characters not destined to die in a disturbing fashion.
		The majority of horrors are set at our level of experience, with no magic (easy way out) and access to tech greatly limited (also another easy way out) Most successful horror games are set in a nitty gritty format where dying is easy, and we realize the frail nature of our mortal shells.
	www.strolen.com /content.php?node=1277 (2510 words)

	Monsters and the Monstrous - Conference Session 1
		Since its body is not fully developed yet, its organs have to be kept together in bandages; the head looks glazy as if it didn’t grow any skin yet.
		The dissolvement of this inside/outside boundary is a typical aspect of some horror films that came out in the late seventies, the so-called body horror genre, including Cronenberg’s Rabid or The Fly but also the Alien series, the two last ones also dealing with the idea of monstrous births.
		At the same time elements of psychological horror film are used to create an eerie uncanny atmosphere that adds to the nauseating effect of the film.
	www.wickedness.net /Monsters/M4/s1.html (987 words)

	Morbid Outlook - The Abject Body vs The Neurotic Mind
		Kristeva says we feel repulsion and horror when confronted by images of the abject because of their ambiguity, whether the other is external or internal, a part of ourselves.
		In Shivers (1976), Cronenberg embarks on his first journey into his obsession with ‘body horror’ by infecting the inhabitants of a remote island with disease: a parasitic virus that is injected into a young girl by a deranged doctor.
		Barbara Creed, in her essay “Horror and the Monstrous-Feminine: An Imaginary Abjection”, uses Kristeva’s concept of the abject and traces it to representations of the mother (the monstrous-feminine) in her analysis of gender and the horror film.
	www.morbidoutlook.com /nonfiction/articles/2004_08_cronenberg.html (1612 words)

	Horror Movie Review \| Body Jumper (2001)
		After the students accidentally unleash the Pob and one of their own is possessed, the demon begins luring horny male students into its web with the express purpose of going to town on their liver.
		Since "Body Jumper" is a Teen Horror Parody, whatever "story" there is exists only to string together the film's sight gags.
		Despite the fact that I'm almost certain the English subtitles are sometimes wrong, this doesn't detract from the movie's comedy, since most of it is of the physical slapstick variety and you don't need a translator to understand that.
	www.beyondhollywood.com /reviews/bodyjumper.htm (530 words)

	Amazon.ca: Writing Horror and the Body: The Fiction of Stephen King, Clive Barker, and Anne Rice: Books: Linda Badley (Site not responding. Last check: 2007-10-18)
		In this sequel to Film, Horror, and the Body Fantastic, Badley examines horror fiction as a fantastic genre in which images of the body and the self are articulated and modified.
		Badley places horror fiction in its cultural context, drawing important connections to theories of gender and sexuality.
		As our culture places increasing importance on body image, horror fiction has provided a language for imagining the self in new ways--often as ungendered, transformed, or re-generated.
	www.amazon.ca /Writing-Horror-Body-Fiction-Stephen/dp/0313297169 (518 words)

	Amazon.co.uk: Body Horror: Photojournalism, Catastrophe and War (Critical Image): Books: John Taylor (Site not responding. Last check: 2007-10-18)
		It examines how the press pictures the dead and injured bodies of foreigners, with particular reference to the special conditions of photographing the horror of wars in the Gulf, Bosnia and Rwanda.
		In essence, this is a book about pictures of dead bodies and their use in the British media.
		If someone is murdered, we are shown the murder site or a picture of the victim when they were still alive (school photos are used for added poignancy when the victim is a child); if there is a fatal accident, we are shown the wreckage, but not the corpses of those who died.
	www.amazon.co.uk /Body-Horror-Photojournalism-Catastrophe-Critical/dp/0719037220 (569 words)

	Horror Films
		Most of these sequels or imitators were exploitative and featured shock, gory violence, graphic horror, 'teens in peril,' computer-generated special effects and makeup, and usually a homicidal male psycho who committed a progressive string of gruesome murders on female victims (where brutal killing/slashing/hacking metaphorically substituted for a rape).
		Respectability was awarded to the horror film genre when director Jonathan Demme's shocking horror/thriller The Silence of the Lambs (1991), starring Anthony Hopkins as the murderous 'Hannibal the Cannibal' and Jodie Foster as a vulnerable FBI agent, walked away with five major Academy Awards - a clean sweep.
		A new variation on horror films was the blending of 'chick-flicks' with a traditional horror-adventure film, exemplified by Lions Gate's claustrophic and terrifying The Descent (2006) - one of the first all-female brutal action horror films.
	www.filmsite.org /horrorfilms4.html (3010 words)

	Funeral directors plead guilty in 'horror movie' body parts case
		Seven U.S. funeral home directors linked to a scheme to plunder corpses and sell the body parts for transplants pleaded guilty to undisclosed charges and have agreed to co-operate with investigators.
		Defence attorneys said that among those co-operating was the director of a funeral home that took parts from the body of Masterpiece Theatre host Alistair Cooke, who died in 2004.
		The four original defendants in the case pleaded not guilty on Wednesday to enterprise corruption, body stealing and other charges in the new indictment.
	www.cbc.ca /world/story/2006/10/18/bodyparts-stolen.html (1263 words)

	S. Hantke: Review of Morgan, The Biology of Horror: Gothic Literature and Film
		In The Biology of Horror, Jack Morgan joins the scores of scholars in the humanities who have discovered the body as a stage of social, political, and ideological drama.
		As far as the horror genre is concerned, an author who concerns himself with embodiment has his work cut out for himself anyway; the term "body horror" has been a familiar trope among producers and the critics of horror since David Cronenberg's films in the late 1970s and early '80s.
		Unlike much contemporary body criticism, which conceptualizes the body primarily as a sociohistorical construct, Morgan's theoretical model puts more emphasis on the body as a stark, unalterable fact.
	rmmla.wsu.edu /ereview/57.1/reviews/hantke.asp (1139 words)

	The Body Snatcher (1945)... it grabs you!
		In The Body Snatcher, Karloff manages to be as scary as ever, with almost no frightful make up adornments at all.
		While it evokes some of the best of that age of Horror, The Body Snatcher is a nightmare all its own, playing with light and shadow and offering up a suspenseful psychological horror.
		The Body Snatcher is rarely noted as one of the true horror classics, but it's most definitely one of my favorites.
	www.worldsgreatestcritic.com /bodysnatcher.html (860 words)

	Magazine Reviews - Horror Hound & Body Bag at horroryearbook.com (Site not responding. Last check: 2007-10-18)
		I feel that the writers are real horror fans and travel to conventions to get first dibs on groundbreaking horror info.
		There were a couple decent articles such as an Eerie Horror Fest Interview with info on submissions (Issue 1) and an interview with August Underground’s Director Fred Vogel (Issue 2).
		Earns a few points for being affordable horror, for it’s original short story, and for slightly improving on the second issue.
	horroryearbook.com /?p=87 (864 words)

	CBC News: Funeral directors plead guilty in 'horror movie' body parts case
		The unidentified directors secretly pleaded guilty to charges related what investigators say was a plot to harvest bone and tissue and sell it to biomedical supply companies, Brooklyn District Attorney Charles Hynes said Wednesday in New York.
		The RCMP are urging the public to be vigilant after pulling from circulation 9,000 counterfeit $20 bills that police say were printed at a clandestine print shop in Quebec.
		A Gatineau man has been told his family must pay $1,700 to a cemetery management company or risk having his grandfather, grandmother and other buried relatives dug up and their headstones removed.
	www.cbc.ca /storyview/AOL/world/national/2006/10/18/bodyparts-stolen.html (1081 words)

	Masters of Horror - DVD Overview - Horror Movies
		With no access to cable or satellite TV and thanks to the tardiness of Europe’s DVD release, it has taken me sometime to examine Masters of Horror, one of the most exciting developments the world of horror has seen in the last few years.
		Director Mick Garris came up with the idea of an anthology series with each episode directed by an acclaimed horror director during lunches with a group of just these sorts of people, and thus Masters was born.
		Infatuated by her, he uses clues in these out of body experiences to locate her; however, she may not be what he expects.
	www.bellaonline.com /articles/art47891.asp (923 words)

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