Cutting Edge: Art-Horror and the Horrific Avant-Garde

From the mail order catalogue, Hawkins works back historically to the reception histories of films in both genres, including the "bump-and-grind" houses that were the home of art films, pornography, and splatter films that failed to gain the approval of the Hays Office. In her hands, Eyes...

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Bibliographic Details
Published in:Journal of American culture (Malden, Mass.) Mass.), 2003, Vol.26 (1), p.142
Main Author: Blyn, Robin
Format: Review
Language:English
Subjects:
Browning, Tod (1880-1962)
Collaboration
French language
Mail order houses
Motion pictures
Ono, Yoko
Studies
Williams, Carol
World War II
Online Access:Get full text
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Summary:From the mail order catalogue, Hawkins works back historically to the reception histories of films in both genres, including the "bump-and-grind" houses that were the home of art films, pornography, and splatter films that failed to gain the approval of the Hays Office. In her hands, Eyes Without a Face becomes a cultural study of French guilt over the extensive collaboration with the Nazis the country can only "see" without "facing"- a film that exploits the horrors of history to occupy a "double niche" of mainstream horror film and European art film.
ISSN:1542-7331
1542-734X