04291nam 2201009 a 450 991078216090332120210527024917.00-520-94070-91-281-38562-X97866113856201-4356-5365-310.1525/9780520940703(CKB)1000000000535154(EBL)345572(OCoLC)437212144(SSID)ssj0000263884(PQKBManifestationID)11256303(PQKBTitleCode)TC0000263884(PQKBWorkID)10275267(PQKB)11236967(MiAaPQ)EBC345572(DE-B1597)520679(OCoLC)614502916(DE-B1597)9780520940703(Au-PeEL)EBL345572(CaPaEBR)ebr10229956(CaONFJC)MIL138562(dli)HEB08205(MiU)MIU01000000000000009853317(EXLCZ)99100000000053515420060831d2007 ub 0engurun#---|u||utxtccrUncanny bodies[electronic resource] the coming of sound film and the origins of the horror genre /Robert SpadoniBerkeley University of California Pressc20071 online resource (204 p.)Description based upon print version of record.0-520-25122-9 0-520-25121-0 Includes bibliographical references (p. 163-177) and index.Includes filmography: p. 179-181.Front matter --Contents --Acknowledgments --INTRODUCTION --1. The Uncanny Body of Early Sound Film --2. Ludicrous Objects, Textualized Responses --3. The Mystery of Dracula --4. Dracula as Uncanny Theater --5 Frankenstein and the Vats of Hollywood --CONCLUSION --Notes --Bibliography --Films Cited --IndexIn 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.Horror filmsUnited StatesHistory and criticismSound motion picturesHistory and criticism20th century american culture.20th century american film history.american culture.american film history.american movie history.audience reception.cinema.classic horror cinema.dark.dracula.early sound film.film studies.filmmaking.frankenstein.hollywood cinema.horror genre.horror movies.intense.modality.movie studies.sound film.svengali.the hollywood review of 1929.uncanny theater.united states of america.universal pictures.vampires.ventriloquism.Horror filmsHistory and criticism.Sound motion picturesHistory and criticism.791.43/6164Spadoni Robert1964-1007257MiAaPQMiAaPQMiAaPQBOOK9910782160903321Uncanny bodies2320184UNINA01321nam0 22003131i 450 UON0040879420231205104730.97920120424d1964 |0itac50 bapolPL|||| 1||||Obocznosc "ja imeju" i "u menja est'" w jezyku rosyjskim dzis i dawniejHalina SafarewiczowaWroclaw Ossolineum ; Polska Akademia Nauk196465 p.25 cm.001UON003971922001 Prace Komisji JezykoznawstwaPolska Akademia Nauk. Oddzial w Krakowie3LINGUA RUSSASTUDIUONC033729FIPLWarszawaUONL000573PLKrakówUONL000871PLWrocławUONL003154491.7LINGUA RUSSA21SAFAREWICZOWAHalinaUONV208384708148OssolineumUONV261461650Polska Akademia NaukUONV250636650ITSOL20240220RICASIBA - SISTEMA BIBLIOTECARIO DI ATENEOUONSIUON00408794SIBA - SISTEMA BIBLIOTECARIO DI ATENEOSI SL FL 35 0278 SI SL 788 5 0278 BuonoObocznosc "ja imeju" i "u menja est'" w jezyku rosyjskim dzis i dawniej1342072UNIOR