Fernando Gabriel Pagnoni Berns – författare

This volume explores how horror comic books have negotiated with the social and cultural anxieties framing a specific era and geographical space.Paying attention to academic gaps in comics’ scholarship, these chapters engage with the study of comics from varying interdisciplinary perspectives, such as Marxism; posthumanism; and theories of adaptation, sociology, existentialism, and psychology. Without neglecting the classical era, the book presents case studies ranging from the mainstream comics to the independents, simultaneously offering new critical insights on zones of vacancy within the study of horror comic books while examining a global selection of horror comics from countries such as India (City of Sorrows), France (Zombillénium), Spain (Creepy), Italy (Dylan Dog), and Japan (Tanabe Gou’s Manga Adaptations of H.P. Lovecraft), as well as the United States.One of the first books centered exclusively on close readings of an under-studied field, this collection will have an appeal to scholars and students of horror comics studies, visual rhetoric, philosophy, sociology, media studies, pop culture, and film studies. It will also appeal to anyone interested in comic books in general and to those interested in investigating intricacies of the horror genre.

This volume explores how horror comic books have negotiated with the social and cultural anxieties framing a specific era and geographical space.Paying attention to academic gaps in comics’ scholarship, these chapters engage with the study of comics from varying interdisciplinary perspectives, such as Marxism; posthumanism; and theories of adaptation, sociology, existentialism, and psychology. Without neglecting the classical era, the book presents case studies ranging from the mainstream comics to the independents, simultaneously offering new critical insights on zones of vacancy within the study of horror comic books while examining a global selection of horror comics from countries such as India (City of Sorrows), France (Zombillénium), Spain (Creepy), Italy (Dylan Dog), and Japan (Tanabe Gou’s Manga Adaptations of H.P. Lovecraft), as well as the United States.One of the first books centered exclusively on close readings of an under-studied field, this collection will have an appeal to scholars and students of horror comics studies, visual rhetoric, philosophy, sociology, media studies, pop culture, and film studies. It will also appeal to anyone interested in comic books in general and to those interested in investigating intricacies of the horror genre.

This collection offers close readings on Hammer’s cycle of horror films, analysing key films and placing particular emphasis on the narratives and themes present in the works discussed.Ranging from the studio’s first horror outing, The Mystery of the Mary Celeste (1935) to Hammer’s last contemporary film, Doctor Jekyll (2023), the collection celebrates cult-favourites such as The Quatermass Experiment, the films of Terence Fisher, to overlooked classics such as Captain Clegg or The Mummy franchise. This volume also delves into Hammer’s psychological thrillers, the studio’s venture into TV with Hammer’s House of Horrors, with theoretical frameworks varying from queer studies to postcolonial readings.This volume will appeal to scholars and students of film studies, international cinema, film history and horror studies.

This collection offers close readings on Hammer’s cycle of horror films, analysing key films and placing particular emphasis on the narratives and themes present in the works discussed.Ranging from the studio’s first horror outing, The Mystery of the Mary Celeste (1935) to Hammer’s last contemporary film, Doctor Jekyll (2023), the collection celebrates cult-favourites such as The Quatermass Experiment, the films of Terence Fisher, to overlooked classics such as Captain Clegg or The Mummy franchise. This volume also delves into Hammer’s psychological thrillers, the studio’s venture into TV with Hammer’s House of Horrors, with theoretical frameworks varying from queer studies to postcolonial readings.This volume will appeal to scholars and students of film studies, international cinema, film history and horror studies.

An auteur and the creator of multiple cinematic universes, James Wan has become one of the most successful directors in history, his films breaking box office records worldwide. Yet there is little scholarship on Wan's work. This collection of new essays fills the gap with contributions from around the globe offering analysis of his film and television productions, including Saw (2004), Aquaman (2018) and The Conjuring Universe franchise, along with less well-known works like Death Sentence (2007), Dead Silence (2007) and his pilot for the new MacGyver series. For the first time, Wan's films are explored in-depth from wide range of critical perspectives.

Horror, no matter the medium, has always retained some influence of philosophy. Horror literature, cinema, comic books and television expose audiences to an "alien" reality, playing with the logical mind and challenging "known" concepts such as normality, reality, family and animals. Both making strange what was previously familiar, philosophy and horror feed each other. This edited collection investigates the intersections of horror and philosophical thinking, spanning across media including literature, cinema and television. Topics covered include the cinema of David Lynch; Scream and Alien: Resurrection; the relationships between Jorge Luis Borges and H. P. Lovecraft; horror authors Blake Crouch and Paul Tremblay; Indian film; the television series Atlanta; and the horror comic book Dylan Dog. Philosophers discussed include Julia Kristeva, George Berkeley, Michel Foucault, and the Cybernetic Culture Research Unit. Using philosophies like posthumanism, Afro-Pessimism and others, it explores connections between nightmare allegories, postmodern fragmentation, the ahuman sublime and much more.

Contributions by Donald L. Anderson, Brian Brems, Eric Brinkman, Matthew Edwards, Brenda S. Gardenour Walter, Andrew Grossman, Lisa Haegele, Gavin F. Hurley, Mikel J. Koven, Sharon Jane Mee, Fernando Gabriel Pagnoni Berns, Émilie von Garan, Connor John Warden, and Sean WoodardThe giallo (yellow) film cycle, characterized by its bloody murders and blending of high art and cinematic sleaze, rose to prominence in Italy in the 1960s and 1970s. Beginning with Mario Bava’s The Girl Who Knew Too Much (1963) and Dario Argento’s The Bird with the Crystal Plumage (1970), giallo films influenced the American slasher films of the 1980s and attracted an increasingly large fandom. In Bloodstained Narratives: The Giallo Film in Italy and Abroad, contributors explore understudied aspects of gialli. The chapters introduce readers to a wide range of films, including masterpieces from Argento and overlooked gems, all of them examined in close detail. Rather than understanding giallo as focalized exclusively in Italy in the 1970s, this collection explores the extension of gialli narratives abroad through different geographies and times. This book examines Italian gialli of the 1970s as well as American neo-gialli, French productions, Canadian horror films of the 1980s, and Asian rewritings of this "yellow" cycle of crime/horror films. Bloodstained Narratives also features interviews with two giallo film directors, including cult favorite Antonio Bido. Rather than fading from the cinematic stage, gialli serves as a precursor and steady accomplice to horror-thriller films through the twenty-first century.

Contributions by Donald L. Anderson, Brian Brems, Eric Brinkman, Matthew Edwards, Brenda S. Gardenour Walter, Andrew Grossman, Lisa Haegele, Gavin F. Hurley, Mikel J. Koven, Sharon Jane Mee, Fernando Gabriel Pagnoni Berns, Émilie von Garan, Connor John Warden, and Sean WoodardThe giallo (yellow) film cycle, characterized by its bloody murders and blending of high art and cinematic sleaze, rose to prominence in Italy in the 1960s and 1970s. Beginning with Mario Bava’s The Girl Who Knew Too Much (1963) and Dario Argento’s The Bird with the Crystal Plumage (1970), giallo films influenced the American slasher films of the 1980s and attracted an increasingly large fandom. In Bloodstained Narratives: The Giallo Film in Italy and Abroad, contributors explore understudied aspects of gialli. The chapters introduce readers to a wide range of films, including masterpieces from Argento and overlooked gems, all of them examined in close detail. Rather than understanding giallo as focalized exclusively in Italy in the 1970s, this collection explores the extension of gialli narratives abroad through different geographies and times. This book examines Italian gialli of the 1970s as well as American neo-gialli, French productions, Canadian horror films of the 1980s, and Asian rewritings of this "yellow" cycle of crime/horror films. Bloodstained Narratives also features interviews with two giallo film directors, including cult favorite Antonio Bido. Rather than fading from the cinematic stage, gialli serves as a precursor and steady accomplice to horror-thriller films through the twenty-first century.

In A Critical Companion to Wes Craven, contributors use a variety of theoretical frameworks to analyze distinct areas of Craven’s work, including ecology, auteurism, philosophy, queer studies, and trauma. This book covers both the successes and failures contained in Craven’s extensive filmography, ultimately revealing a variegated portrait of his career. Scholars of film studies, horror, and ecology will find this book particularly interesting.

This edited volume provides a comprehensive, interdisciplinary, and up-to-date analysis of the entire filmography of Dario Argento, one of the most renowned directors from the world of Euro-Horror.Contributors bring together approaches from philosophy, film, and media studies to engage with Dario Argento’s oeuvre through a variety of lenses, including posthumanism, art cinema, gender studies, historical contextual analysis, and the aesthetics of blindness. The collection focuses not only on films made by Argento himself, but also on homages and remakes, demonstrating the lasting contributions and influence of his perspective and works on the horror genre.

Contemporary Japanese horror is deeply rooted in the folklore of its culture, with fairy tales-like ghost stories embedded deeply into the social, cultural, and religious fabric. Ever since the emergence of the J-horror phenomenon in the late 1990s with the opening and critical success of films such as Hideo Nakata’s The Ring (Ringu, 1998) or Takashi Miike’s Audition (Ôdishon, 1999), Japanese horror has been a staple of both film studies and Western culture. Scholars and fans alike throughout the world have been keen to observe and analyze the popularity and roots of the phenomenon that took the horror scene by storm, producing a corpus of cultural artefacts that still resonate today. Further, Japanese horror is symptomatic of its social and cultural context, celebrating the fantastic through female ghosts, mutated lizards, posthuman bodies, and other figures. Encompassing a range of genres and media including cinema, manga, video games, and anime, this book investigates and analyzes Japanese horror in relation with trauma studies (including the figure of Godzilla), the non-human (via grotesque bodies), and hybridity with Western narratives (including the linkages with Hollywood), thus illuminating overlooked aspects of this cultural phenomenon.

Contemporary Japanese horror is deeply rooted in the folklore of its culture, with fairy tales-like ghost stories embedded deeply into the social, cultural, and religious fabric. Ever since the emergence of the J-horror phenomenon in the late 1990s with the opening and critical success of films such as Hideo Nakata’s The Ring (Ringu, 1998) or Takashi Miike’s Audition (Ôdishon, 1999), Japanese horror has been a staple of both film studies and Western culture. Scholars and fans alike throughout the world have been keen to observe and analyze the popularity and roots of the phenomenon that took the horror scene by storm, producing a corpus of cultural artefacts that still resonate today. Further, Japanese horror is symptomatic of its social and cultural context, celebrating the fantastic through female ghosts, mutated lizards, posthuman bodies, and other figures. Encompassing a range of genres and media including cinema, manga, video games, and anime, this book investigates and analyzes Japanese horror in relation with trauma studies (including the figure of Godzilla), the non-human (via grotesque bodies), and hybridity with Western narratives (including the linkages with Hollywood), thus illuminating overlooked aspects of this cultural phenomenon.