Mark McKenna – författare

This book explores horror film franchising from a broad range of interdisciplinary perspectives and considers the horror film’s role in the history of franchising and serial fiction.

Comprising 12 chapters written by established and emerging scholars in the field, Horror Franchise Cinema redresses critical neglect toward horror film franchising by discussing the forces and factors governing its development across historical and contemporary terrain while also examining text and reception practices. Offering an introduction to the history of horror franchising, the chapters also examine key texts including Universal Studio monster films, Blumhouse production films, The Texas Chainsaw Massacre, A Nightmare on Elm Street, Alien, I Spit on Your Grave, Let the Right One In, Italian zombie films, anthology films, and virtual reality.

A significant contribution to studies of horror cinema and film/media franchising from the 1930s to the present day, this book will be of interest to students and scholars of film studies, media and cultural studies, franchise studies, political economy, audience/reception studies, horror studies, fan studies, genre studies, production cultures, and film histories.

This book explores horror film franchising from a broad range of interdisciplinary perspectives and considers the horror film’s role in the history of franchising and serial fiction.

Comprising 12 chapters written by established and emerging scholars in the field, Horror Franchise Cinema redresses critical neglect toward horror film franchising by discussing the forces and factors governing its development across historical and contemporary terrain while also examining text and reception practices. Offering an introduction to the history of horror franchising, the chapters also examine key texts including Universal Studio monster films, Blumhouse production films, The Texas Chainsaw Massacre, A Nightmare on Elm Street, Alien, I Spit on Your Grave, Let the Right One In, Italian zombie films, anthology films, and virtual reality.

A significant contribution to studies of horror cinema and film/media franchising from the 1930s to the present day, this book will be of interest to students and scholars of film studies, media and cultural studies, franchise studies, political economy, audience/reception studies, horror studies, fan studies, genre studies, production cultures, and film histories.

This book provides an examination of Big Wednesday as an unconventional film that employs a mythic sensibility in its representation of the loss of youth and young manhood.

Critically and commercially unsuccessful on its original release, the coming-of-age, surf drama Big Wednesday (1978), has undergone a significant reappraisal. It is now considered not only an important contribution to youth cinema, but also the most important film that John Milius ever made. Over six chapters, the book considers questions of authorship, commerce, genre, stardom, and myth, and explores how these ideas intersect with the film’s status as a significant youth movie and collectively how these ideas have contributed to its recent critical rehabilitation. In doing so, the book also provides a much-needed reassessment of an important and overlooked entry in the New Hollywood canon.

Exploring Big Wednesday’s subsequent resonance and relevance, this unique study will appeal to students and scholars in film studies, popular culture studies, youth studies, sociology, and media studies.

This book provides an examination of Big Wednesday as an unconventional film that employs a mythic sensibility in its representation of the loss of youth and young manhood.

Critically and commercially unsuccessful on its original release, the coming-of-age, surf drama Big Wednesday (1978), has undergone a significant reappraisal. It is now considered not only an important contribution to youth cinema, but also the most important film that John Milius ever made. Over six chapters, the book considers questions of authorship, commerce, genre, stardom, and myth, and explores how these ideas intersect with the film’s status as a significant youth movie and collectively how these ideas have contributed to its recent critical rehabilitation. In doing so, the book also provides a much-needed reassessment of an important and overlooked entry in the New Hollywood canon.

Exploring Big Wednesday’s subsequent resonance and relevance, this unique study will appeal to students and scholars in film studies, popular culture studies, youth studies, sociology, and media studies.