Abstract

This essay explores the troublesome relationship between horror cinema and American independent cinema, with particular emphasis on the reception of Nadja (Michael Almereyda, 1994) and The Addiction (Abel Ferrara, 1995), ultimately arguing that the continued opposition between "horror" and "art" that exists within a number of film critics' frameworks leads to US "indie-horror" cinema being articulated as a quasi-generic field within which horror tropes are largely absent.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 67-86
Launched on MUSE
2012-02-01
Open Access
No
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