TAILIEUCHUNG - World Horror Cinema and the US: Bringing it all back home

Film scholar and author Shoma Chatterji (Subject: Cinema, Object: Women, 1998) says, “Women in Hindi cinema have been decorative objects with rarely any sense of agency being imparted to them. Each phase of Hindi cinema had its own representation of women, but they were confined largely to the traditional, patriarchal frame-work of the Indian society. The ordinary woman has hardly been visible in Hindi cinema.” vi To understand this portrayal in much more depth, we need to have a look at some crucial glimpses which defined the role of women in Hindi films. These images kept alive. | 1 Media in Transition 2 Globalization and Convergence May 10-12 2002 at MIT Cambridge Massachusetts USA World Horror Cinema and the US Bringing it all back home By Steven Jay Schneider Until fairly recently analysis of the horror genre tended to concentrate on entries from the Western world whether the American horror film British examples such as Hammer Studios horror or the Italian giallo tradition of Mario Bava and Dario Argento. Although this may appear to reflect Western prejudice which to a certain extent it does the main reason for this restricted focus has been difficulties accessing films from other parts of the globe as well as the relative though hardly total lack of interest shown by several national cinemas in this genre until the last decade or so. Certainly up to the mid-1960s it was possible for most critics and scholars to claim a knowledge of world horror cinema based upon the admittedly limited theatrical distribution of various examples in the art or popular entertainment fields chief among these being George Franju s Les Yeux sans viasage Eyes Without a Face France 1959 Mario Bava s La Maschera del demonio Black Sunday Italy 1960 Michael Powell s Peeping Tom UK 1960 Kaneto Shindo s Onibaba Japan 1964 Roman Polanski s Repulsion UK 1965 and of course Germany s silent horror classics Das Kabinett des Doktor Caligari The Cabinet of Dr. Caligari 1920 and Nosferatu eine Symphonie des Grauens Nosferatu a Symphony of Terror 1922 . Thus it was left to marginal publications such as Oriental Cinema Video Watchdog Fangoria Cinefantastique Asian Cult Cinema formerly Asian Trash Cinema and Necronomicon along with developing video distributors and specialized mail-order houses like Midnight Video Sinister Cinema Something Weird Video and Video Search of Miami to furnish and champion hard-to-come-by examples for those enthusiastic explorers seeking something different from what was then provided by the restricted distribution venues. Another factor in the .

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