Skip to main content

Movie Research Resources

Genre and Horror Resources

I was going to make all of these links but, I don't want to have to keep them updated. I originally found all of these books on Amazon - if that doesn't yield results, try half or any used text book website.

Altman, Rick.  Film/Genre.  London: BFI Publishing, 1999.

Carroll, Noel.  The Philosophy of Horror. London: Routledge, 1990.

Clover, Carol J.  Men, Women, and Chain Saws: Gender in the Modern Horror Film. Princeton University Press. 1992.

Collins, Min.  Film Theory Goes To The Movies : Cultural Analysis of Contemporary Film.  Edited by Ava Preacher Collins.  London: Routledge, 1992.

Cook, Gary, et al.  B-Movie Survival Guide: A Comprehensive Guide to the In’s and Out’s of Finding a Way to Live till the Final Credits. Wild Things, 1999.

Curry, Christopher Wayne. A Taste for Blood: The Films of Herschell Gordon Lewis.  London: Creation Publishing Group, 2000. 

Dixon, Wheeler Winston ed.  Film Genre 2000: New Critical Essays. New York: State University of New York Press, 2000.

Duff, David, ed.  Modern Genre Theory. Longman, 1999.

Edmundson, Mark.  Nightmare on Main Street Street : Angels, Sadomasochism, and the Culture of Gothic. Harvard University Press, 1998.

Farwell, Mary H.J.  “After A Nightmare on Elm Street, director Wes Craven dreams up Shocker’s maniacal killer.”  People Weekly 32, no. 20 (1998): 159-61.

Freeland, Cynthia A.  The Naked and the Undead: Evil and the Appeal of Horror. Colorado: Westview Press, 1999.

Gelder, Ken, ed.  The Horror Reader. London: Routledge, 2000.

Giles, Jeff.  “Keep ‘em Screaming.”  Newsweek 130, no. 24 (1997): 70-1.

Goldstein, Jeffrey H., ed.  Why We Watch: The Attraction to Violent Entertainment. Oxford: Oxford University Press, 1998.

Grant, Barry Keith, ed.  The Dread of the Difference: Gender and the Horror Film. Texas: University of Texas Press, 1996.

Grossman, Dave.  Stop teaching our kids to kill: a call to action against TV, movie & video game violence.”  New York: Crown Publishers, 1999.

Guttmacher, Peter. Legendary Horror Films: Essential Genre History, Offscreen Anecdotes, Special Effects Secrets, Ghoulish Facts and Photographs.  New York: MetroBooks, 1995.

Halberstam, Judith.  Skin Shows: Gothic Horror and the Technology of Monsters. Duke University Press, 1995.

Haskell, Molly.  From Reverence to Rape: The Treatment of Women in Movies. Chicago: University of Chicago Press, 1987.

Jameson, Richard, ed.  They went thataway: redefining film genres: a National Society of Film Critics video guide.  San Francisco: Mercury House, 1994.

Jones, E. Michael.  Monsters From the Id: The Rise of Horror in Fiction and Film. Texas: Spence Pub, 2000.

Keesey, Douglas.  “THEY KILL FOR LOVE.”  CineAction, Summer 2001, 44.

Klawans, Stuart.  “Craven Idolatry.”  The Nation 270, no. 9 (2000): 34.

Koehler, Robert.  “’Scream’ catalyst for new horror era.”  Variety 368, no. 10 (1997): M5

Lacey, Nick.  Narrative and Genre:  Key Concepts in Media Studies. Palgrave, 2000.
Lavery, David, ed.  Full of Secrets: Critical Approaches to Twin Peaks. Michigan: Wayne State University Press, 1995.

Law, John W.  Scare Tactic: The Life and Films of William Castle., 2000.

Markovitz, Johnathan.  “Female Paranoia as Survival Skill: reason or pathology in ‘A Nightmare on Elm Street.’”  Quarterly Review of Film and Video 17, no. 3 (2000): 211-21.

---. CriticalApproaches to Writing About Film. New Jersey:Prentice Hall, 2000.

McCarthy, John.  Splatter Movies: Breaking the Last Taboo of the Screen.  New York: St. Martin’s Press, 1984.

Monaco, James.  How To Read a Film: The World of Movies, Media, and Multimedia: Language, History, Theory. Oxford: Oxford University Press, 2000.
Mulvey, Laura.  Visual and Other Pleasures. Indiana: Indiana University Press, 1989.

Neale, Steve.  Genre and Hollywood. London: Routledge, 2000.

Nelmes, Jill, ed.  An Introduction to Film Studies. London: Routledge, 1999.

Nichols, Peter M.  “Taking the Children.”  The New York Times, 16 February 2001,

Parla, Paul.  de la,  Charles P. Mitchell.  Screen Sirens Scream!: Interviews with 20 Actresses from Science Fiction, Horror, Film Noir, and Mystery Movies, 1930’s to 1960’s. McFarland & Company, 2000.

Paul, William.  “What rough beasts; confessions of a gross-out maven.”  Film Comment 30, no. 6 (1994): 80-5.

---.  Laughing, Screaming: Modern Hollywood Horror and Comedy. New York: Columbia University Press, 1994.

Pinedo, Isabel.  “Recreational Terror: postmodern elements of the contemporary horror film.”  Journal of Film and Video 48, no. 1-2 (1996): 17-35.

Postman, Neil.  The Disappearance of Childhood. New York: Vintage Books, 1994.

Powers, Tom.  Horror Movies.  Minneapolis: Lerner Publications Company, 1989.

Salisbury, Mark, ed.  Burton on Burton.  Great Britian: Faber and Faber, 1995.

Santino, Jack, ed.  Halloween and Other Festivals of Death and Life. Tennessee: University of Tennessee Press, 1994.

Sharrett, Christopher, ed.  Mythologies of Violence in Postmodern Media. Michigan: Wayne State University Press, 1999.

Simpson, Philip L.  Psycho Paths: Tracking the Serial Killer Through Contemporary American Film and Fiction. Illinois: Southern Illinois University Pres, 2000.

Solomon, Stanley J.  Beyond Formula: American Film Genres.  New York: Harcourt Brace Jovanovich, 1976.

Staiger, Janet.  “Hybrid or inbred: the purity hypothesis and Hollywood genre history.”  Film Criticism 22, no. 1 (1997): 5-21.

---.  Perverse Spectators. New York: New York University Press, 2000.
Tietchen, Todd F.  “Samples and Copycats: the cultural implications of the postmodern slasher in contemporary American film.”  Journal of Popular Film and Television 26, no. 3  (1998): 98.

Timpone, Anthony, ed.  Fangoria’s best horror films.  New York: Crescent Books, 1994.

Trencansky, Sarah.  “Final Girls and Terrible Youth: Transgression in 1980’s Slasher Horror.” Journal of Popular Film and Television 29, no. 2 (2001): 63.

Tudor, Andrew.  “Why horror?  The peculiar pleasures of a popular genre.”  Cultural Studies 11, no. 3 (1997): 443-61.

Van Gennep, Arnold.  The Rites of Passage.  Translated by Monika B. Vizedon and Gabrielle L. Caffee. Chicago: University of Chicago Press, 1961.

Williamson, Kevin. de la, Wes Craven.  Scream: A Screenplay. Talk Miramax Books, 1997.

Other Resources To Check Out

Baywater, Tim.  An introduction to film criticism: major critical approaches to narrative film.  New York: Longman, 1989.

Broeske, Pat H.  “Reinventing a Genre.”  Writer’s Digest 77, no.   11 (1997): 55.

Browne, Nick, ed.  Refiguring American Film Genres: History and Theory. California: University of California Press, 1998.

Cawelti, John G.  The Six Gun Mystique Sequel. Popular Press. 1999.

---.  “What rough beast – new westerns?”  ANQ 9, no. 3 (1996): 4-18.

“Film, TV go back west.”  Video Age International 14, no. 3 (1994): 16-17.

Frayling, Christopher.  “The Making of Sergio Leone’s A Fistful of Dollars.”  Cineaste 25, no. 3 (2000): 14.

Kaplan, E. Ann.  Women in Film Noir. Indiana: Indiana University Press, 1999.

Kertzer, David I.  Ritual, Politics, and Power. Boston: Yale University Press, 1989.

Kreyche, Gerald F.  “Westerns Ride Off Into the Sunset.”  USA Today 128, no. 2652 (1999): 82.

Kroll, Jack.  “Blazing Saddles.”  Newsweek 131, no.  25A (1998): 34-5.

Leighninger, Robert D.  “The Western as male soap operas: John Ford’s ‘Rio Grande.’”  Journal of Men’s Studies 6, no. 2 (1998): 135-49.

Mitchell, Reid.  All on a Mardi Gras Day: Episodes in the History of New Orleans Carnival. Boston: Harvard University Press, 1999.

O’Boyle, J.G.  Journal of Popular Film and Television 24, no. 2 (1996): 69-82.

O’Brien, Geffrey.  “The movie of the century: it looks both backwards at everything Hollywood had learned about Westerns and forward to things films hadn’t dared do.”  American Heritage 49, no. 7 (1998): 16-20.

Paul Lucey. Story Sense: Writing Story and Script for Feature Films and Television. McGraw-Hill Higher Education, 1996.

Slotkin, Richard.  Gunfighter Nation : The Myth of the Frontier in Twentieth-Century America. Oklahoma: University of Oklahoma Press, 1998.


Popular posts from this blog

Rebuttal: 17 Disturbing Horror Movies You Will Never Watch Again

When I'm not watching movies, I'm reading about movies. I stumble across all kinds of articles, blog posts, book excerpts, etc. in my quest to absorb as much movie knowledge as possible. Now, I'm snotty and loud-mouthed and opinionated but I'd never begrudge another human their opinion. Seriously. You're absolutely welcome to have any opinion about any thing you want. However, I must warn you, if I think your opinion is stupid, I'm absolutely going to say so. I've recently stumbled on an article completely  brimming with so many idiotic opinions that I'm actually compelled to craft a response. Here's the gist of the original article: there are some horror movies out there that are so disturbing , you'll only ever want to watch them once. I've have taken her original list and refuted her claims without pulling her entire article over. You can read the original article here . Let's start at the beginning, with her opening statement

What Is Genre And Why Should I Care?

There are terms that always seem to come up when talking about films: director, actor, plot, theme, score, etc. These terms are all self-explanatory; no one ever asks, ‘what’s a director?’ However, there are other terms that are equally common but less clear: genre, sub-genre, auteur, oeuvre, etc. These terms are more abstract then ‘director’ or ‘actor.’ It is entirely likely that someone will ask, ‘what is genre, anyway?’ This question specifically is what I will be answering with this paper. The answer to the question ‘what is genre,’ is multi-layered: genre is a means of classification. Genre is a means of communication. Genre is a means of understanding films. Genre is a means of relating to films. To one person all movies rated “PG” are a genre – possibly one also known as “children’s movies” – while to another all movies with similar topics treated in similar ways are a genre: i.e. movies dealing with frontier life depicted in a nostalgic manner are a genre often kn

Contracted Or I Just Watched A Zombie Movie

Seems like horror fans fall into two buckets these days: zombie lovers and zombie haters. That dividing line just keeps getting deeper and darker the more zombies gain "mainstream popularity". I currently fall into the "I am so tired of zombies I could puke" bucket. I haven't stopped  watching zombie movies so much as I've started avoiding them at all costs, literally watching every other subgenre offering I stumble onto, regardless of how terrible it is. I seriously re-watched Wishmaster  this past week. That's how far out of my way I've been going to avoid the significant number of zombie movies flooding Netflix. Then I accidentally watched one. Contracted - 2013 I'm sure it was partially due to the really terrible movie synopsis that Netflix provided, which I'm prepared to admit that they may have nothing to do with and  that I likely didn't read it very well. In a strange twist of events, the movie cover actually helped