By Katarina Gregersdotter, Johan Höglund, Nicklas Hållén
This primary full-length scholarly learn approximately animal horror cinema defines the preferred subgenre and describes its foundation and heritage within the West. The chapters discover various animal horror motion pictures from a couple of various views. this is often an necessary research for college students and students of cinema, horror and animal experiences.
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Additional resources for Animal Horror Cinema: Genre, History and Criticism
18 Katarina Gregersdotter, Nicklas Hållén and Johan Höglund Birke. L. (2002) Intimate Familiarities? Feminism and Human Animal Studies. Society & Animals. 10 (4). pp. 429–436. Calarco, M. (2008) Zoographies: The Question of the Animal from Heidegger to Derrida. New York: Columbia University Press. Caputi, J. (2004) Goddesses and monsters: women, myth, power, and popular culture. Madison: University of Wisconsin Press. Caluya, G. (2014) Fragments for a Postcolonial Critique of the Anthropocene: Invasion Biology and Environmental Security.
In addition to this, the effect of Frémiet’s sculpture relies on the troubling possibility that the gorilla is not necessarily all that different from the humans that observe it. Frémiet’s 1859 sculpture coincided with the publication of Charles Darwin’s On the Origin of Species and the debate about the development of humankind, something Frémiet seems to have been keenly aware of. In an interview he commented on the uproar that the 1859 sculpture had caused: At a time when a lot of noise was being made about mankind and apes being brothers, it was an audacious idea; and my work proved even more aggravating since, the gorilla being the ugliest of all the primates, the comparison was hardly flattering for humans.
Animal invasion movies such as Them! (1954), The Monster that Challenged the World (1957) and Attack of the Giant Leeches (1959) have been described as post-World War II narratives informed not by the economic boom that the US experienced during the 1950s, but by the horrific slaughter of the war. As David Skal has observed, America was not only filled by the smell of new cars in the 1950s, it was also ‘permeated by the stench of mass death, and the threat of more to come’ (1993, p. 229). In this way, and as Niklas Salmose observes in this book, these animal invasion movies are certainly narratives about the tenuous nature of American life during the early atomic era.