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Edited by Gilles Menegaldo, Mélanie Boissonneau and Anne-Marie Paquet-Deyris

Twenty years after Universal horror movies, the Hammer studio brought back to life the great mythical figures inspired from British literature as well as French and European folklore (Dracula, Frankenstein, the Werewolf, the Phantom of the Opera, etc.). It invented new incarnations rooted in a precise historical context and revisited according to the evolution of British society. This independent studio constitutes a notable stage in the history of the genre between the Gothic horror of the 1930s and the more radical productions of the 1970s, which eventually contributed to its demise. Focusing on the peculiar balance between Hammer’s inventiveness and classicism, this volume mainly explores the lesser-known productions, examining as well its contradictions, paradoxes and limitations.

The book raises the question of the paradoxical modernity of films that are innovative in various respects (themes, modes of representation challenging censorship, aesthetics), but are also trying to resurrect a dying tradition, mostly offering a rather surprisingly conservative discourse despite their efforts to comply with the expectations of new audiences. The films born from the recent Hammer renaissance are still referring to this bygone Golden Age of the horror film. One may wonder whether the Hammer studio was a mere factory churning out mostly conventional horror films now buried in the dust of a gothic dungeon, or a true laboratory of modern cinematic horror whose past glory still inspires contemporary filmmakers. This volume will provide some answers and raise quite a few questions.

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Xiaokun Wang and Wenjing Zhang

As the most important ancient cultural relics in prehistory, rock paintings have become a direct basis for the reproduction of human history and ideological process. Since the late 1970s, Yinshan rock paintings have been found in large quantities. In this study, 2842 Yinshan rock paintings are collected, sorted and classified systematically. The distribution characteristics of rock paintings in each area and the distribution and change rules of main rock painting types are summarized, and the staged study and age exploration are attempted. This book also places Yinshan rock paintings into the overall framework of Chinese rock paintings for analysis in order to provide a more comprehensive understanding of the overall characteristics and status of Yinshan rock paintings, and on this basis, preliminarily establishes the basic framework of Yinshan rock painting type distribution and chronological sequence.