The Era of Horror Franchising
pdf (Русский)

Abstract views: 189
PDF Downloads: 89

Keywords

Franchise
Horror
Cult Cinema
Media
Practical Philosophy
Narrative
Sequels
Monsters
Anthology
Economic Model of Franchising

How to Cite

Pavlov, A. (2022). The Era of Horror Franchising. Galactica Media: Journal of Media Studies, 4(1), 171-183. https://doi.org/10.46539/gmd.v4i1.255

Abstract

Book review: McKenna, M. & Proctor, W. (Eds.), (2021). Horror Franchise Cinema. Routledge.

https://doi.org/10.46539/gmd.v4i1.255
pdf (Русский)

References

Barker, M., Egan, K., Phillips, T. & Ralph, S. (2016). Alien Audiences: Remembering and Evaluating a Classic Movie. Palgrave Macmillan UK. https://doi.org/10.1057/9781137532060

Brinkema, E. (2015). Design Terminable and Interminable: The Possibility of Death in Final Destination. Journal of Visual Culture, 14 (3), 298–310. https://doi.org/10.1177/1470412915607923

Church, D. (2021). Post-Horror: Art, Genre and Cultural Elevation. Edinburgh University Press.

Clover, C. J. (2014). Her Body, Himself: Gender in the Slasher Film. Logos, 6, 1–60. (In Russian).

Dudenhoeffer, L. (2014). Embodiment and Horror Cinema. Palgrave Macmillan US.

Fleury, F. J., Hartzheim, B. H. & Mamber, S. (Eds.). (2019). Franchise Era: Managing Media in the Digital Economy. Edinburgh University Press.

Hantke, S. (2010). Introduction. In S. Hantke (Ed.), American Horror Film: The Genre at the Turn of the Millennium (pp. vii–xxxii). University of Mississippi Press.

Herbert, D. (2019). Evil Spawn or Good Business? New Line Cinema, Critters, and Film Franchising at the Margins. In D. Herbert, The Franchise Era (pp. 52–74). Edinburgh University Press. https://doi.org/10.3366/edinburgh/9781474419222.003.0003

Hills, M. (2014). Para-Paracinema: The Friday the 13th Film Series as Other to Trash and Legitimate Film Cultures. Logos, 5, 27–50. (In Russian).

Maguire, D. (2018). I Spit on Your Grave. Columbia University Press. https://doi.org/10.7312/magu18875

McCollum, V., Platts, T. K. & Clasen, M. (2022). Blumhouse Productions: The New House of Horror. University of Chicago Press.

McKenna, M. (2017). Whose Canon is it Anyway?: Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution. In J. Wroot & A. Willis (Eds.), Cult Media (pp. 31‑47). Springer International Publishing. https://doi.org/10.1007/978-3-319-63679-5_3

McKenna, M. & Proctor, W. (2021). Horror Franchise Cinema (1st ed.). Routledge. https://doi.org/10.4324/9780429060830

Nowell, R. (2011). Blood money: A history of the first teen slasher film cycle. Bloomsbury Publishing USA.

Parody, C. (2011). Adaptation Essay Prize Winner: Franchising/Adaptation. Adaptation, 4 (2), 210–218. https://doi.org/10.1093/adaptation/apr008

Pavlov, A. (2021). Post-Horror? Philosophy. Journal of the Higher School of Economics, V (2), 294–313. https://doi.org/10.17323/2587-8719-2021-2-294-313 (In Russian).

Proctor, W. (2017). Reboots and Retroactive Continuity. In M. J. P. Wolf (Ed.), The Routledge Companion to Imaginary Worlds (1st ed., pp. 224–235). Routledge. https://doi.org/10.4324/9781315637525-28

Riekki, R. & Sartain, J. A. (2019). The Many Lives of The Evil Dead: Essays on the Cult Film Franchise. McFarland & Company, Inc.

Wells, P. (2000). The Horror Genre: From Beelzebub to Blair Witch. Wallflower Press.

Wood, R. (2003). Hollywoodfrom Vietnam to Reagan... And Beyond. Columbia University Press.

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.