Dustin Dunavan

Ali Igmen
History 499: Senior Seminar
Spring 2018
April 4, 2018
Term Paper Annotated Bibliography

Balmain, Colette. Introduction to Japanese Horror Film. Edinburgh: Edinburgh University

Press, 2008. ProQuest Ebook Central.
https://ebookcentral.proquest.com/lib/csulb/reader.action?docID=380399

Earning a PhD. on Italian horror cinema, Balmain has built a career lecturing, reviewing
and writing about East Asian cultures and cinemas at Kingston University. While this
book is targeted at film and media students, Balmain provides an analysis and
deconstruction of cultural mythology as the base for horror cinema. Starting with the
boom of Japanese horror in the 1950s, Balmain traces changing and recurring themes.
Globalizing the material, Balmain examines the sharing ideas of Japanese and Western
horror cinema. Using this as a secondary source will provide evidence of horror cinema
as a global cultural trend.

Beard, Drew. "Strange Bedfellows: The Chaucerian Dream Vision and the Neoconservative
Nightmare." The Irish Journal of Gothic and Horror Studies, no. 8 (2010): 2-10.
https://irishgothichorror.files.wordpress.com/2016/04/ijghsissue8.pdf

Basing his research from a literary perspective from a Ph.D. in English from the
University of Oregon, Beard has contributed to the psychologically in horror literature
and film. Film reviews of his include, Paranormal Activity 3 and Insidious, while also
lectures at the University of Oregon. In this article, Beard addresses the use and
appearance of dreams throughout cultures. Focusing primarily on Western traditions,
Beard draws the connection of dream narrative from medieval folklore to the present.
Specifically, Beard compares Chaucerian use of dream in literature and the film
Nightmare on Elm Street. This secondary source will provide evidence of the use of
horror in popular culture from the medieval period to the modern.

Blake, Linnie. The Wounds of Nations: Horror Cinema, Historical Trauma and National
Identity. Manchester: Manchester University Press, 2013. ProQuest Ebook Central.
https://ebookcentral.proquest.com/lib/csulb/reader.action?docID=1069592

Blake has earned a PhD. from the University of Cambridge in English literature and is the
director of the Manchester Centre for Gothic Studies and professor for English Studies,
specifically in the subtopic of Gothic culture. This book argues that horror films allow
 Dunavan 2

international audiences to handle trauma culture. She argues that the horror genre is
potentially therapeutic and political, seeking ways to cope with real life struggles. The
book is broken into four parts in a chronological order, from the post-WWII period of the
Germany and Japan perspective, the Cold War era, and post-9/11 fear of the Oriental.
This book will be useful in drawing cultural connections across borders within horror
cinema, specifically, the various interpretations of global events and their larger
meanings.

Briefel, Aviva, and Miller, Sam J., eds. Horror After 9/11: World of Fear, Cinema of Terror.
Austin: University of Texas Press, ProQuest Ebook Central.
https://ebookcentral.proquest.com/lib/csulb/reader.action?docID=3443574

Editor Aviva Briefel is a professor in English and Cinema Studies at Bowdoin College. In
this collection of essays she compiles a narrative of modern approaches to cinemas
connection with real life horrors after 9/11 with horror entertainment. According to
the author, horror after 9/11 took on a stronger allegorical role. Trauma before 9/11 was
distant, but after the domestic attacks, horror and danger became closer to many
Americans. While many of the scholarly articles are American focused, some sections do
discuss horror cinema in the transnational context. Even though this collection of works
can provide multiple perspectives of the horror genre post-911, it can also be used a
source to compare more 21st-century films to 20th-century horror cinema. Specifically,
this book can help examine how political and cultural anticipations are reflected in film.

Clarens, Carlos. An Illustrated History of the Horror Films. New York: Putnam, 1967.

Carlos Clarens was a cinema writer and film historian, living from 1930-1987. While he
majored at the University of Havana in architecture, he went on to work on film
productions and studying cinematography. This monograph globalizes the horror genre
by separating the first four chapters based on regions – Paris, Germany, America, and
Hollywood. Within those regions, Clarens localizes particular themes that make an “era”
of cinema unique, whether that consists of wizards, demons, monsters, or aliens. While
the monograph is thematic and regionalized, it is also chronological all the way up to
1967, the year of publication. Even though this monograph is outdated, it does provide a
great source for historiography purposes. For instance, although the book discusses
foreign films, it mostly focuses on Western productions, paying little or no attention to
Japanese, Indian, or Korean films.

Dixon, Wheeler Winston. A History of Horror, Rutgers University Press, 2010. ProQuest Ebook
Central. https://ebookcentral.proquest.com/lib/csulb/reader.action?docID=832046
 Dunavan 3

Dixon is a professor of English at University of Nebraska and teaches Film Studies. In

this book, Dixon traces the origins of horror in both literature and film, while film from
1896 onward is his main focus. After laying the foundations for American and European
horror films, Dixon expands his analysis into the global framework. In addition, he
discusses what films were conventional and which ones challenged the status quo. This
book will be used as a starting point in defining what a horror film is and how its
definition has altered throughout the cinematic age. Also, his input in the transcendence
of culture through horror cinema across national and cultural lines will be utilized in
creating a World History essay.

Fischer-Hornung, Dorothea, and Mueller, Monika, eds. Vampires and Zombies: Transcultural
Migrations and Transnational Interpretations. Jackson: University Press of Mississippi,
2016. ProQuest Ebook Central.
https://ebookcentral.proquest.com/lib/csulb/reader.action?docID=4438672

Editor Fischer-Hornung was the English Department’s Senior Lecturer at

Heidelberg University, whose research has focused on ethnic and post-colonial literatures
and English films. In this book of her editing vampires and zombies, beings of the
undead, are explored as a recurring topic in folklore and myth from around the globe,
beginning from Europe and Afro-Caribbean narratives, but has gone under
transformation through the expansion and influence of mass media to Thailand and
Mexico, among others. With each transition, local identities alter these monsters to make
them relatable and close. By taking works from multiple authors from varying
backgrounds and nations of origin, this book provides cultural insight from experts. The
topic of vampires and zombies in this book can provide a case study in discussing the
various global trends within the horror film genre.

Hartson, Mary T. "Voracious Vampires and Other Monsters: Masculinity and the Terror Genre
in Spanish Cinema of the Transición." Romance Notes 55, no. 1 (2015): 125-36.
http://web.b.ebscohost.com.csulb.idm.oclc.org/ehost/pdfviewer/pdfviewer?vid=1&sid=20
c6b3a0-ef37-4356-8d5d-aad95bd04e15%40sessionmgr103

Hartson studies and teaches 20th and 21st century Spanish literature and film at Oakland
University. Her experience in Masculinity and Gender Studies filters into her analyses of
horror cinema. Using her expertise, this article expands on the topic of monsters, such as
vampires, within the horror genre. Focusing on Spain, this article does not look at the
topic as an international theme. Instead, Harson views social and economic changes in
Spain during the 1960s and 70s as having a direct link to Spanish horror films during that
time. In addition, it analyzes the role of sexuality and sexual dominance in the horror
cinema. With Hatson’s localization of these subtopics, this article can be used as a source
in deconstructing similar and differing themes within horror cinema.
 Dunavan 4

Hendershot, Cyndy. "The Cold War Horror Film: Taboo and Transgression in The Bad Seed,
The Fly, and Psycho." Journal of Popular Film and Television 29, no. 1 (2001): 20-31.
http://web.a.ebscohost.com.csulb.idm.oclc.org/ehost/pdfviewer/pdfviewer?vid=1&sid=7c
27a57d-d6cf-403d-ba58-b3bae76a2872%40sessionmgr4006

Hendershot has a Ph.D. in English and Critical Theory from Texas Tech University and
teaches Popular Literature and Film at Arkansas State University. Hendershot provides
not only detailed evidence of Cold War horror films as taboo to the “American” way of
cinema, but argues a thought-provoking article on the overarching purpose of horror
entertainment. The evidence for this does not just begin with the horror film, but with the
Gothic literature of the 19th-century. Just as the Gothic genre in literature was anything
grotesque and transgressed against what was proper, horror films in the Cold War period
featured sexual transgressions, a perception of communism. A possible use for this article
could be in examining the influence of nationalism and American superiority on horror
films. In a global context, it may be thoughtful in understanding how Spain or other
countries handled the discourse of sexual transgression in cinema.

Lester, Catherine. "The Children's Horror Film: Characterizing an 'Impossible' Subgenre." Velvet
Light Trap78 (2016): 22-37. http://web.a.ebscohost.com.csulb.idm.oclc.org/ehost
/pdfviewer/pdfvi ewer?vid=16&sid=f0134d93-186e-4236-8a0c-21f93eadc045%40s
essionmgr4008

Catherine Lester has a Ph.D. in children literature and has taught National Cinemas and
Film History. She also gives lectures as a guest speaker on ‘Children Horror.’ In her
article, Lester examines the growth of children-friendly horror films from the 1980s to
the present. Before the 1968 horror film Rosemary Baby, the adult horror genre hadn’t
been clearly defined. Throughout the 1970s, clear distinctions between adult and children
horror began to form. Lester determines how a genre which was once seen disturbing for
even adults came to appeal to children. While Lester clearly discusses the horror genre in
purely cinematic terms, it is critically appropriate to expand her research to the
antebellum period. An argument might be made that horror or gothic themes having
appropriateness to children existed before the 1980s. From this, a deeper analysis would
be to compare and contrast children-friendly horror in America with the global film
community.

Monument, Andrew, dir. Nightmares in Red, White and Blue: The Evolution of the American
Horror Film. 2010; New York, NY: Kino International, 2010. Web video.

This documentary highlights the major films in American horror cinema from its apex to
the present. From the silent era to the present, the Monument make an effort to examine
 Dunavan 5

what were the motivating factors for horror film directors and how were their
sociopolitical sympathies reflected in cinema. While this film puts a hyper-importance on
America’s role on the film industry, failing to highlight foreign films influence on the
genre, it may be used as a source to highlight current American perception of horror film
history. Putting it into a global context, it may be necessary to question whether the ideas
of American horror films were exclusive to America or if foreign ideas influenced their
cinema.

Mubarki, Meraj Ahmed. "Monstrosities of Science: Exploring Monster Narratives in Hindi

Horror Cinema." Visual Anthropology 28, no. 3 (2015): 248-61.
http://web.a.ebscohost.com.csulb.idm.oclc.org/ehost/pdfviewer/pdfviewer?vid=1&sid=56
bff726-ec34-49f0-a7ee-bbb086293216%40sessionmgr4008

With a Master’s Degree and Doctorate in Journalism and Mass Communication from the
University of Calcutta, and a career teaching film studies, Mubarki has a unique
background to discuss film history. Regardless, it is insightful to intake the opinions of a
local writer and scholar discussing Hindi horror, which is rarely discussed by Western
scholars. In this article, Mubarki compares Bombay (Hindi) cinema after the launching of
its space program in the 1970s compared to Hollywood in the 1950s. Mubarki argues that
scientific growth did not cause national anxieties as it did in the U.S. It did, however,
produce personal monster and creature narratives, with anti-science discourse in the
1980s. While India lacks the Gothic literary tradition, it did have its own folklore of
zombies, ghosts, and the undead. This source will be extremely valuable in discussing
global trends in horror cinema. Likewise, this article seems to provide evidence that non-
Western nations projected horror themes within cultural boundaries.

Oates, Joyce Carol. "Dracula (Tod Browning, 1931)." Southwest Review 76, no. 4 (1991):
498. Academic Search Complete, EBSCOhost (accessed March 20, 2018). http://web.a.eb
scohost.com.csulb.idm.oclc.org/ehost/detail/detail?vid=10&sid=f0134d93-186e-4236-
8a0c-21f93eadc045%40sessionmgr4008&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d
%3d#AN=9609190215&db=a9h

Many film historians consider Dracula as the beginning of the modern horror genre.
While that title is debated by some, it is nonetheless an important film when connecting
horror films and culture. Its connection to both the myth of the undead being resurrected
and Dracula’s identity as by part of “the Other” is a similar theme seen throughout horror
cinema. The film also experimented with cinematic sound, giving it an uncomfortable
setting. This film will be one of many that can be used in an essay discussing the global
perspective of horror films, for what it represents to American audiences, whether the
idea of a vampire is original to Tod Browning’s film.
 Dunavan 6

Olney, Ian. Euro Horror: Classic European Horror Cinema in Contemporary American Culture.
Bloomington, IN: Indiana University Press, 2013. ProQuest Ebook Central.
https://ebookcentral.proquest.com/lib/csulb/reader.action?docID=816858

Ian Olney teaches film studies at York College of Pennsylvania and has published two
books on horror cinema. During the mid-1950s and mid-1980s, Olney argues that
hardcore and cult fans did not find the horror films they desired from Britain or America,
but from continental Europe. These films were stranger, sexier, and gorier than that
produced in America and Britain. With the conservative era of the 1980s in these regions,
Hollywood attempted to counteract these ideas by producing the taboo cinema from
continental Europe. With this boom in American films in the 1980s, the “Euro horror’s
golden age” ended. Olney research on the 1950s-80s on Euro horror, establishing it as a
golden age, challenges the narrative of American horror as superior during the these
years. From this, a global outlook on continental Europe’s role in ushering in extreme
gore in the horror genre can be given prudence.

Rocher, Jean-Marc, writ. 100 Years of Horror. 1996; Multicom Entertainment Group, 2012.
Web video.

This series by Rocher provides exclusive input from some of Hollywood’s most popular
horror producers, actors, and directors, and presents itself as accessible and
understandable to the layman. In a 26 part series, this series breaks down the horror genre
by subtopic, including werewolves and demons. The series even attempts to give credit to
foreign films in influencing the horror genre. How this series can be used in a World
History essay is by determining the extent certain themes are exclusive to America or can
be seen in other cultures. Also, a comparison of subtopics between cultures, examining
similarities and differences, can lead to a deeper knowledge of the meaning and purpose
of horror as a cultural material.