Masks in Horror Cinema: Eyes without Faces PDF
Preview Masks in Horror Cinema: Eyes without Faces
Masks IN HORROR CINEMA Masks in Horror Cinema_i-x_PRELIMS.indd 1 16/10/2019 13:12 HORROR STUDIES Masks Series Editor IN HORROR CINEMA Xavier Aldana Reyes, Manchester Metropolitan University Editorial Board Stacey Abbott, Roehampton University EYES WITHOUT FACES Linnie Blake, Manchester Metropolitan University Harry M. Benshoff, University of North Texas Fred Botting, Kingston University Steven Bruhm, Western University Steffen Hantke, Sogang University Joan Hawkins, Indiana University Agnieszka Soltysik Monnet, University of Lausanne ALEXANDRA HELLER-NICHOLAS Bernice M. Murphy, Trinity College Dublin Johnny Walker, Northumbria University Preface Horror Studies is the first book series exclusively dedicated to the study of the genre in its various manifestations – from fiction to cinema and televi- sion, magazines to comics, and extending to other forms of narrative texts such as video games and music. Horror Studies aims to raise the profile of Horror and to further its academic institutionalisation by providing a pub- lishing home for cutting-edge research. As an exciting new venture within the established Cultural Studies and Literary Criticism programme, Horror Studies will expand the field in innovative and student-friendly ways. UNIVERSITY OF WALES PRESS 2019 Masks in Horror Cinema_i-x_PRELIMS.indd 2 16/10/2019 13:12 Masks IN HORROR CINEMA EYES WITHOUT FACES ALEXANDRA HELLER-NICHOLAS UNIVERSITY OF WALES PRESS 2019 Masks in Horror Cinema_i-x_PRELIMS.indd 3 16/10/2019 13:12 © Alexandra Heller-Nicholas, 2019 All rights reserved. No part of this book may be reproduced in any material form (including photocopying or storing it in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright owner except in accordance with the provisions of the Copyright, Designs and Patents Act. Applications for the copyright owner’s written permission to reproduce any part of this publication should be addressed to the University of Wales Press, University Registry, King Edward VII Avenue, Cardiff, CF10 3NS. www.uwp.co.uk British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN 978-1-78683-496-6 eISBN 978-1-78683-497-3 The right of Alexandra Heller-Nicholas to be identified as author of this work has been asserted in accordance with sections 77 and 79 of the Copyright, Designs and Patents Act 1988. Typeset by Chris Bell, cbdesign Printed by CPI Antony Rowe, Melksham Masks in Horror Cinema_i-x_PRELIMS.indd 4 16/10/2019 13:12 For Casper and Christian Masks in Horror Cinema_i-x_PRELIMS.indd 5 16/10/2019 13:12 Writing pages:Layout 1 23/6/09 13:39 Page 291 Contents Acknowledgements ix Introduction 1 1. Situating Masks and Horror Cinema 23 Part One: Masks, Horror and Cinema – Towards Codification 39 2. Masks and Horror in Literary and Performance Traditions and Early Cinema 41 3. Masks in Horror Film before 1970 63 Part Two: Horror Film Masks from 1970 – Case Studies 87 4. Skin Masks: Ritual, Power and Transformation 89 5. Blank Masks: Ritual, Power and Transformation 111 6. Animal Masks: Ritual, Power and Transformation 129 7. Repurposed Masks: Ritual, Power and Transformation 149 Masks in Horror Cinema_i-x_PRELIMS.indd 7 16/10/2019 13:12 Part Three: Masks as Transformational Technologies – Moving Forward by Looking Back 167 8. Technological Masks: Ritual, Power and Transformation 169 Conclusion 191 Endnotes 197 Bibliography 239 Index 267 Masks in Horror Cinema_i-x_PRELIMS.indd 8 16/10/2019 13:12 Acknowledgements WITH A PROJECT of this scale there are of course many people to thank. First, I must acknowledge Angela Ndalianis without whose practical and emotional support this would never have got off the ground, let alone ever be finished. Many thanks to the Horror Studies series editor Xavier Aldana Reyes and Sarah Lewis at University of Wales Press for the privilege of inviting me to join the series, and for their unceasing warmth, support and encouragement. I would also like to thank Stephen Morgan for his assistance in sourcing the Abel Gance doc- umentation vital to chapter 2, as well as Julien Allen, Franck Boulègue and Samuel Bréan for their translation assistance of this material, and to Kevin Heffernan and Mark Jancovich for their invaluable feedback on the original thesis version of this book. Josh Nelson went well above and beyond the call of duty on pretty much all fronts (including his impressive copy-editing prowess), and I would also like to thank the following for their support: Anton Bitel, Sally Christie, Anna Dzenis, John Edmond, Giles Edwards, Mark Freeman, Lee Gambin, Wendy Haslem, Jade Henshaw, Ian Gouldstone, Anne Marsh, Craig Martin, Jan Napiorkowski, Tim O’Farrell, David Surman and Emma Westwood. As always, thanks to my family, Richard, Lorraine, Max, Fiona and Robert, and with particular love and gratitude to Casper and Christian. Masks in Horror Cinema_i-x_PRELIMS.indd 9 16/10/2019 13:12
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