Extreme Cinema examines the highly stylized treatment of sex and violence in post-millennial transnational cinema, where the governing convention is not the narrative but the spectacle. Using profound experiments in form and composition, including jarring editing, extreme close-ups, visual disorientation and sounds that straddle the boundary between non-diegetic and diegetic registers, this mode of cinema dwells instead on the exhibition of intense violence and an acute intimacy with the sexual body. Interrogating works such as Wetlands and A Serbian Film, as well as the sub-culture of YouTube 'reaction videos', Aaron Michael Kerner and Jonathan L. Knapp demonstrate the way content and form combine in extreme cinema to affectively manipulate the viewing body.

From reviews of the third edition: “Film Genre Reader III lives up to the high expectations set by its predecessors, providing an accessible and relatively comprehensive look at genre studies. The anthology’s consideration of the advantages and challenges of genre studies, as well as its inclusion of various film genres and methodological approaches, presents a pedagogically useful overview.” —Scope Since 1986, Film Genre Reader has been the standard reference and classroom text for the study of genre in film, with more than 25,000 copies sold. Barry Keith Grant has again revised and updated the book to reflect the most recent developments in genre study. This fourth edition adds new essays on genre definition and cycles, action movies, science fiction, and heritage films, along with a comprehensive and updated bibliography. The volume includes more than thirty essays by some of film’s most distinguished critics and scholars of popular cinema, including Charles Ramírez Berg, John G. Cawelti, Celestino Deleyto, David Desser, Thomas Elsaesser, Steve Neale, Thomas Schatz, Paul Schrader, Vivian Sobchack, Janet Staiger, Linda Williams, and Robin Wood.

In this groundbreaking work, author David Scott Diffrient explores largely understudied facets of cinematic horror, from the various odors permeating classic and contemporary films to the wetness, sliminess, and stickiness of these productions, which, he argues, practically scream out for a tactile mode of textural analysis as much as they call for more traditional forms of textual analysis. Dating back to Carol Clover’s and Linda Williams’s pioneering work on horror cinema, film scholars have long conceptualized this once-disreputable category of cultural production as a “body genre.” However, despite the growing recognition that horror serves important biological and social functions in our lives, scholars have only scratched the surface of this genre with regard to its affective, corporeal, and sensorial appeals. Diffrient anatomizes horror films in much the same way that a mad scientist might handle the body, separating and recombining constitutive parts into a new analytical whole. Further, he challenges the tendency of scholars to privilege human over nonhuman beings and calls into question ableist assumptions about the centrality to horror films of sight and sound to the near exclusion of other forms of sense experience. In addition to examining the role that animals—living or dead, real or fake—play in human-centered fictions, this volume asks what it means for audiences to consume motion pictures in which actors, stunt performers, and other creative personnel have put their own bodies and lives at risk for our amusement. Historically grounded and theoretically expansive, Body Genre: Anatomy of the Horror Film moves the study of cinematic horror into previously unchartered waters and breathes life into a subject that, not coincidentally, is intimately connected to breathing as our most cherished dividing line between life and death.

While films such as Rambo, Thelma and Louise and Basic Instinct have operated as major points of cultural reference in recent years, popular action cinema remains neglected within contemporary film criticism. Spectacular Bodies unravels the complexities and pleasures of a genre often dismissed as `obvious' in both its pleasure and its politics, arguing that these controversial films should be analysed and understood within a cinematic as well as a political context. Yvonne Tasker argues that today's action cinema not only responds to the shifts in gendered, sexual and racial identities which took place during the 1980s, but reflects the influences of other media such as the new video culture. Her detailed discussion of the homoeroticism surrounding the muscleman hero, the symbolic centrality of blackness within the crime narrative, and the changing status of women within the genre, addresses the constitution of these identities through the shifting categories of gender, class, race, sex, sexuality and nation. Spectacular Bodies also examines the ambivalence of supposedly secure categories of popular cinema, questioning the existing terms of film criticism in this area and addressing the complex pleasures of this neglected form.

In 1931 Universal Pictures released Dracula and Frankenstein, two films that inaugurated the horror genre in Hollywood cinema. These films appeared directly on the heels of Hollywood's transition to sound film. Uncanny Bodies argues that the coming of sound inspired more in these massively influential horror movies than screams, creaking doors, and howling wolves. A close examination of the historical reception of films of the transition period reveals that sound films could seem to their earliest viewers unreal and ghostly. By comparing this audience impression to the first sound horror films, Robert Spadoni makes a case for understanding film viewing as a force that can powerfully shape both the minutest aspects of individual films and the broadest sweep of film production trends, and for seeing aftereffects of the temporary weirdness of sound film deeply etched in the basic character of one of our most enduring film genres.

This volume examines how different generations of women work within the genericity of audio-visual storytelling not necessarily to ‘undo’ or ‘subvert’ popular formats, but also to draw on their generative force. Recent examples of filmmakers and creative practitioners within and outside Hollywood as well as women working in non-directing authorial roles remind us that women are in various ways authoring commercially and culturally impactful texts across a range of genres. Put simply, this volume asks: what do women who are creatively engaged with audio-visual industries do with genre and what does genre do with them? The contributors to the collection respond to this question from diverse perspectives and with different answers, spanning issues of direction, screenwriting, performance and audience address/reception.

W. G. Sebald meets Maggie Nelson in an autobiographical narrative of embodiment, visual art, history, and loss. How do the bodies we inhabit affect our relationship with art? How does art affect our relationship to our bodies? T Fleischmann uses Felix Gonzáles-Torres’s artworks—piles of candy, stacks of paper, puzzles—as a path through questions of love and loss, violence and rejuvenation, gender and sexuality. From the back porches of Buffalo, to the galleries of New York and L.A., to farmhouses of rural Tennessee, the artworks act as still points, sites for reflection situated in lived experience. Fleischmann combines serious engagement with warmth and clarity of prose, reveling in the experiences and pleasures of art and the body, identity and community.