Colour, embodiment and dread in High Tension and A Tale of Two Sisters.
- Published in:
- Horror Studies, 2012, v. 3, n. 1, p. 87, doi. 10.1386/host.3.1.87_1
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- Article
Works matching IS 20403275 AND DT 2012 AND VI 3 AND IP 1
Results: 9
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Shelley's Medusa: 'Eyes of Pain' in The Cenci of 1819.
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- Horror Studies, 2012, v. 3, n. 1, p. 3, doi. 10.1386/host.3.1.3_1
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- Article
3
From blood bonds to brand loyalties: Poppy Z. Brite's Lost Souls and Alan Ball's True Blood.
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- Horror Studies, 2012, v. 3, n. 1, p. 71, doi. 10.1386/host.3.1.71_1
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- Article
4
Splice: The postmodern Prometheus.
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- Horror Studies, 2012, v. 3, n. 1, p. 125, doi. 10.1386/host.3.1.125_1
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- Article
5
Nature, technology and sound design in Gojira (1954).
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- Horror Studies, 2012, v. 3, n. 1, p. 21, doi. 10.1386/host.3.1.21_1
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- Article
6
' people are going to want to know what really went down': Cloverfield and the return to innocence in post-9/11 America.
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- Horror Studies, 2012, v. 3, n. 1, p. 105, doi. 10.1386/host.3.1.105_1
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- Article
7
REVIEWS.
- Published in:
- Horror Studies, 2012, v. 3, n. 1, p. 139, doi. 10.1386/host.3.1.139_5
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- Article
8
Remake as erasure in The Texas Chain Saw Massacre.
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- Horror Studies, 2012, v. 3, n. 1, p. 57, doi. 10.1386/host.3.1.57_1
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- Publication type:
- Article
9
'Doggy's Got Teeth ... Lots of Teeth': Representations of children and the canine in horror film and fiction.
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- Horror Studies, 2012, v. 3, n. 1, p. 39, doi. 10.1386/host.3.1.39_1
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- Publication type:
- Article