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.
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.