Jon Towlson ist Filmkritiker und befasst sich eingehend mit dem Horror-Genre. Seine Arbeit konzentriert sich auf die Analyse subversiver Elemente und gegenkultureller Botschaften in Horrorfilmen, von klassischen Werken bis hin zu zeitgenössischen Produktionen. Towlson untersucht, wie das Horror-Kino die Gesellschaft widerspiegelt und kommentiert, wobei er sich oft auf Themen wie den Aufstieg des Grausamen und seine filmische Darstellung konzentriert. Sein Ansatz ist analytisch und aufschlussreich und bietet den Lesern ein tieferes Verständnis des Horrorfilms.
Exploring the global landscape of horror cinema, this book delves into how filmmakers from various countries address cultural fears and anxieties through the genre. It highlights the evolution of horror over the past decade, analyzing 28 significant international films, such as It Follows and Get Out, while discussing many others. Each chapter focuses on a different nation, providing insights into the unique terrors faced by its people and examining the genre's appeal across borders.
Jon Towlson considers how Candyman might be read both as a "return of the repressed" and as an example of nineties neoconservative horror. He traces the film's origins as a Clive Barker short story; discusses the importance of its real-life Cabrini-Green setting; and analyzes its appropriation and interrogation of urban myth.
Countercultural Messages of Films from Frankenstein to the Present
Exploring the intersection of horror cinema and societal upheaval, this critical text analyzes how filmmakers from the 1930s to the present have utilized the genre to confront and critique prevailing ideologies during crises such as the Great Depression and post-9/11. It highlights the works of notable directors like James Whale and Wes Craven, showcasing films such as Frankenstein and American Mary as vehicles for subversion and commentary on cultural norms. This examination reveals horror's role as a powerful medium for challenging the status quo in turbulent times.
This book explores intensity of emotion and childlike wonder in Steven Spielberg's Close Encounters of the Third Kind. Jon Towlson also examines the film's production history, analyzes Spielberg's realization of the film, and considers how it fits into the Spielberg oeuvre.
The book explores the evolution of classic horror films, highlighting how their graphic nature became more apparent with the advent of home video and DVDs. It examines the intersection of horror with other genres like gangster films and "sex pictures," revealing how these sensational movies captivated audiences during the Great Depression. Through this lens, the author challenges traditional critiques that emphasize shadow and suggestion, offering a fresh perspective on the genre's appeal and cultural significance during a tumultuous era.
An iconic and controversial film, Midnight Cowboy is given its due as a classic of queer cinema. By shifting the perspective away from interpretations of Midnight Cowboy as homophobic, Jon Towlson argues for a new interpretation of the film as a proto-queer buddy movie and portrait of a friendship.
Arguably, excess is at the heart of Dawn of the Dead, integral to its meaning: not only in its scenes of gore, its in-your-face social satire and its gaudy pop-kitsch style but in the production history of the film itself.