A Companion to the Horror Film by Harry M. Benshoff

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By Harry M. Benshoff

This state-of-the-art assortment positive aspects unique essays via eminent students on considered one of cinema's such a lot dynamic and enduringly well known genres, overlaying every thing from the historical past of horror video clips to the most recent severe approaches.
Contributors comprise some of the most interesting teachers operating within the box, in addition to interesting more youthful scholars
Varied and accomplished assurance, from the background of horror to broader problems with censorship, gender, and sexuality
Covers either English-language and non-English horror movie traditions
Key subject matters contain horror movie aesthetics, theoretical ways, distribution, artwork residence cinema, ethnographic surrealism, and horror's relation to documentary movie practice
A thorough therapy of this dynamic movie style suited for students and fanatics alike

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Yet the season continued to peddle the story line that torture works. For example, an adamantly antitorture FBI agent decides that she must use torture only two hours after meeting Bauer, and of course, the man she tortures immediately gives her useful information. Bauer, in turn, delivers stirring speeches to easy-to-hate politicians about how he has “no regrets” for using the techniques he did. But the seventh season also presents, for the first time, heroic characters who oppose torture, including a strong president.

12 Nudging Hollywood For the next year I corresponded with Colonel Stuart Herrington, a legendary intelligence officer who had operated behind enemy lines in Vietnam, 2 6 t o r t u r e a n d t he implic at ions of m a sculi ni t y interrogated Noriega’s henchmen in Panama, and directed the interrogation of high-value detainees in the first Gulf War. ”13 His approach was decidedly un–Jack Bauer. “Torture,” Herrington told me, “is pure amateur hour. ” And over time, he told me stories of how he “broke” detainees without laying a hand on them.

Hardly wrathful, he suffers, endures, and forgives. As I will indicate in the final section of this chapter, Gibson’s use of spectacle to present the theme of masculine endurance of torture as an unsurpassed virtue is what enables many viewers to conflate these two depictions of Jesus. This also holds true for Braveheart and Apocalypto. But this is not the only factor at work in the confusion over Gibson’s antitorture stance. There is actually a confluence of factors that, together, undermine the films’ overt denunciation of torture.

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