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Xavier Aldana Reyes

    Xavier è Reader in Letteratura Inglese e Film presso la Manchester Metropolitan University e membro fondatore del Manchester Centre for Gothic Studies. Il suo lavoro approfondisce l'analisi intricata di opere letterarie e cinematografiche, esplorando le loro profondità tematiche e le sfumature stilistiche. Attraverso le sue attività accademiche, contribuisce a una comprensione più ricca dei generi e della loro evoluzione. La sua esperienza negli studi gotici illumina le sfaccettature più oscure della psiche umana e delle costruzioni sociali rappresentate nella narrazione.

    Horror Film and Affect
    Spanish Gothic
    Gothic Cinema
    • Gothic Cinema

      • 280pagine
      • 10 ore di lettura

      Explores the long history of Gothic cinema, from its transitional origins in phantasmagoria shows and the first 'trick' films to its postmodern fragmentation in the Gothic pastiches of Tim Burton

      Gothic Cinema
    • Spanish Gothic

      National Identity, Collaboration and Cultural Adaptation

      • 252pagine
      • 9 ore di lettura

      Exploring the evolution of the Gothic mode in Spain, this book delves into significant literary periods, including Romanticism and the booms of the 1970s and 2000s. Through illustrative case studies, Aldana Reyes reveals how the Gothic has continuously influenced Spanish literature and cinema since the late-eighteenth century. The author argues that creators embraced the Gothic as a liberating and transgressive form of expression, showcasing its enduring relevance and adaptability within the cultural landscape.

      Spanish Gothic
    • Horror Film and Affect

      Towards a Corporeal Model of Viewership

      • 206pagine
      • 8 ore di lettura

      Focusing on the intersection of affect theory, horror cinema, and performance studies, this book offers a critical examination of moving images depicting mutilation and how audiences respond to them. It explores the emotional impacts these representations have, enriching the discourse surrounding horror films and their reception. By integrating these three fields, the work aims to provide new insights into the complexities of viewer engagement with graphic content in cinema.

      Horror Film and Affect