LEADER 03500oam 2200565 450 001 9910459610703321 005 20200514202323.0 010 $a1-62892-858-1 010 $a1-282-94804-0 010 $a9786612948046 010 $a1-4411-8850-9 024 7 $a10.5040/9781628928587 035 $a(EBL)634569 035 $a(OCoLC)699475264 035 $a(MiAaPQ)EBC634569 035 $a(Au-PeEL)EBL634569 035 $a(CaPaEBR)ebr10438513 035 $a(CaONFJC)MIL294804 035 $a(OCoLC)1154890818 035 $a(UtOrBLW)bpp09257644 035 $a(EXLCZ)992670000000066598 100 $a20100511d2011 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aBlood money $ea history of the first teen slasher film cycle /$fRichard Nowell 210 1$aNew York :$cContinuum,$d2011. 215 $a1 online resource (300 p.) 300 $aDescription based upon print version of record. 311 $a1-4411-1705-9 311 $a1-4411-2496-9 320 $aIncludes bibliographical references (pages [253]-278) and index. 327 $aIntroduction : Co-ed frenzy -- "There's more than one way to lose your heart" : the teen slasher film-type, production strategies, and film cycle -- A slay-ride to Small-Town, U.S.A : the advent of the teen slasher film, Black Christmas (1974) and Halloween (1978) -- "They were warned, they are doomed" : the United States, the development of the teen slasher film, and Friday the 13th (1980) -- Murder on the dance-floor : Canada, the development of the teen slasher film, and Prom night (1980) -- The animal house on sorority row : boom and bust, and the establishment of the teen slasher film, 1980-1981 -- Conclusion : time after time. 330 8 $aScholars have consistently applied psychoanalytic models to representations of gender in early teen slasher films such as Black Christmas (1974), Halloween (1978) and Friday the 13th (1980) in order to claim that these were formulaic, excessively violent exploitation films, fashioned to satisfy the misogynist fantasies of teenage boys and grind house patrons. However, by examining the commercial logic, strategies and objectives of the American and Canadian independents that produced the films and the companies that distributed them in the US, Blood Money demonstrates that filmmakers and marketers actually went to extraordinary lengths to make early teen slashers attractive to female youth, to minimize displays of violence, gore and suffering and to invite comparisons to a wide range of post-classical Hollywood's biggest hits; including Love Story (1970), The Exorcist (1973), Saturday Night Fever (1977), Grease and Animal House (both 1978). Blood Money is a remarkable piece of scholarship that highlights the many forces that helped establish the teen slasher as a key component of the North American film industry's repertoire of youth-market product 606 $aSlasher films$zCanada$xHistory and criticism 606 $aSlasher films$zUnited States$xHistory and criticism 606 $2Films, cinema 615 0$aSlasher films$xHistory and criticism. 615 0$aSlasher films$xHistory and criticism. 676 $a791.43/6164 700 $aNowell$b Richard$0998542 801 0$bUtOrBLW 801 1$bUtOrBLW 801 2$bUkLoBP 906 $aBOOK 912 $a9910459610703321 996 $aBlood money$92290660 997 $aUNINA