By Katarina Gregersdotter, Johan Höglund, Nicklas Hållén
This primary full-length scholarly examine approximately animal horror cinema defines the preferred subgenre and describes its starting place and heritage within the West. The chapters discover a number of animal horror movies from a few various views. this can be an imperative research for college students and students of cinema, horror and animal reviews.
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Extra resources for Animal Horror Cinema: Genre, History and Criticism
27) in the process. While all of these interpretations, arguably, tell us more about the scholars interpreting Jaws than the shark as an object of analysis, Fredric Jameson has claimed that the multiplicity of possible interpretations ‘suggests that the vocation of the symbol—the killer ‘They are a fact of life out here’ 41 shark—lies less in any single message or meaning than in its very capacity to absorb and organize all of these quite distinct anxieties together’ (1979, p. 142). Nigel Morris has continued this idea, claiming that through its enigmatic meaning, ‘[t]he shark […] ceases to be a metaphor’ (2007, Chapter 4).
Though, perhaps, as Cynthia Freeland suggests, it is the incomprehensibility that makes it a true horror film (2004, p. 193). As important and popular as The Birds was, it did not spawn many copies. No attempt at a sequel was made until 1994 when The Birds 2: Land’s End premiered on television to very poor reviews. A more recent spate of bird horror film links bird aggression to mad cow disease (Kaw, 2007), and to avian influenza (Flu Bird Horror, 2008). In Birdemic: Shock and Terror (2010), often referred to the best worst movie ever made, and Birdemic 2: The Resurrection (2013), the bird invasion is tied to to environmental causes.
Finally, Johan Höglund’s contribution, Chapter 13, ‘Simian Horror in Rise and Dawn of the Planet of the Apes, discusses the way in which the Planet of the Apes series of films explores human and animal relations by inverting their positions. Relying on Agambens’ notion of the Homo Sacer and the Anthropological Machine, Höglund illustrates how the most recent instalments of the series, Rise and Dawn of the Planet of the Apes, frighten the audience not by picturing the human challenged by the predatory animal, but by collapsing the border between the two and by suggesting that the true predator is the machine that continually produces this border.