Splatter film and its "half brother," the slasher, may appear synonymous to the uninitiated, but these volumes attempt to sort out what makes each genre unique.
Splatter films have been around about 40 years and still do not enjoy high status. The sequel to Stine's The Gorehound's Guide to Splatter Films of the 1960s and 1970s (McFarland, 2001) treats about 500 1980s titles, what Stine calls "the childhood days" of splatter films, which featured more special effects and more literalism. Most are U.S. productions, but a few European titles are covered.
Entries are listed alphabetically and range in length from a half page to two pages. Technical information includes director, crew, cast, length, release date, variance in titles, distributor, and distribution forms. Plot is described briefly, with extensive commentary and background providing most of the text. The author is a "reel" aficionado and strong in his opinions (e.g., "a disgusting, albeit riotously funny, splatter flick"). Readers should not expect objectivity; rather, they can count on passionate interest. Extensive cross-references help the reader find films listed with different titles. A list of sources for DVDs and videocassettes follows the film entries. The index is extensive. About 100 black-and-white photos from movie posters and film clips supplement the text.
According to Armstrong, author of Slasher Films: An International Filmography, 1960-2001, Alfred Hitchcock's 1960 film Psycho was the seminal slasher film. The prototype slasher film is defined as one that combines: an introductory murder or predictive event; a setting that does not inspire terror; visualized killings; a human or humanlike killer; systematic, thematic killing; and an unhappy or unresolved ending. Armstrong's well-developed introduction provides examples for each of these elements, and he uses the criteria to select more than 150 representative films, most of them U.S. made. The classics are found (e.g., Scream, Texas Chainsaw Massacre), but lesser-known films are also given good coverage.
Entries are arranged alphabetically by English title and vary in length from one to three pages. Information includes date, screenwriters, directors, film company, length, cast, and crew; a very detailed plot outline follows. A final paragraph gives the author's critique of the film's role in the genre. Writing is straightforward and generally objective. A few black-and-white photos provide a sense of the genre. Separate appendixes list slasher directors and screenwriters. The index is minimal.
These two titles overlap somewhat in coverage (both cover the Friday the 13th and Halloween series, for example), although Stine is much more opinionated. Both are recommended for libraries with relevant collections. RBB
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