Image from The Exorcist (William Friedkin, 1973)
There are [...] two significant [subliminal cuts] in The Exorcist [...] --- firstly during [Father Damien] Karras [(Jason Miller))] dream of his mother, the screen is filled for two frames with a white-painted image of Jason Millers leering face, appearing as a death mask; and during the exorcism itself, Linda Blairs tossing head is replaced momentarily with Millers similarly deathly visage. Mark Kermode, Devilish Deceptions (From Fear Magazine, Issue 24 December 1990)
Only Father Karras, in a final, desperate act of self-sacrifice – of somatic and spiritual simpatico with the demon – comes to reconcile and transcend these extremes, thus restoring Regan to her former state of being. Larrie Dudenhoeffer , ‘"Evil against Evil": The Parabolic Structure and Thematics of William Friedkin’s The Exorcist, Horror Studies, 1.1, 2010, p. 11 (pdf)
Film Studies For Free is trembling with delicious terror at the news of yet another freely accessible issue of a new journal from Intellect Press - theres just too much to read already... Aaaarrggghhhh...
But seriously, Horror Studies is a peer-reviewed, biannual, academic journal devoted to the study of the aesthetics of horror in all of its cultural and historical forms, from film and literature, music and dance, to fine art, photography and beyond: "With a strong commitment to interdisciplinarity, Horror Studies seeks to foster fruitful dialogue on horror between a wide range of different critical and scholarly traditions."
The first issue contains a good number of excellent film-related articles: on The Exorcist; abjection and masculinity in Todd Solondz’s Happiness; Werewolf of London (Walker, 1935); Dracula in early cinema; the submarine myth and its relation to the shark myth, as it has been propagated in film since Steven Spielberg’s Jaws (1975); and a Deleuzian study of Michael Almereydas horror films.
As usual, here at FSFF, links to all contents are given below.
The first issue contains a good number of excellent film-related articles: on The Exorcist; abjection and masculinity in Todd Solondz’s Happiness; Werewolf of London (Walker, 1935); Dracula in early cinema; the submarine myth and its relation to the shark myth, as it has been propagated in film since Steven Spielberg’s Jaws (1975); and a Deleuzian study of Michael Almereydas horror films.
As usual, here at FSFF, links to all contents are given below.
- Contents/Editorial/Authors: View Header/Abstract View PDF
- Karen E. Macfarlane , Mummy Knows Best: Knowledge and the Unknowable in Turn of the Century Mummy Fiction View Header/Abstract View PDF
- Gary D Rhodes, Drakula halála (1921): The Cinema’s First Dracula, View Header/AbstractView PDF
- Robert Spadoni, Strange Botany in Werewolf of London View Header/Abstract View PDF
- Larrie Dudenhoeffer , ‘"Evil against Evil": The Parabolic Structure and Thematics of William Friedkin’s The Exorcist View Header/Abstract View PDF
- Linda Maria Koldau, Of Submarines and Sharks: Musical Settings of a Silent Menace View Header/Abstract View PDF
- Tom O’Connor, ‘Uncontrollably Herself’: Deleuze’s Becoming-woman in the Horror Films of Michael Almereyda, View Header/Abstract View PDF
- Adam Wadenius, The Monstrous Masculine: Abjection and Todd Solondz’s Happiness, View Header/Abstract View PDF
- Catherine Spooner Dark Looks: An Interview With Valerie Steele View Header/Abstract View PDF
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