Beteiligte: | |
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In: | Horror Studies, 6, 2015, 1, S. 101-119 |
veröffentlicht: |
Intellect
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Medientyp: | Artikel, E-Artikel |
Umfang: | 101-119 |
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ISSN: |
2040-3275
2040-3283 |
DOI: | 10.1386/host.6.1.101_1 |
veröffentlicht in: | Horror Studies |
Sprache: | Englisch |
Schlagwörter: | |
Kollektion: | Intellect (CrossRef) |
<jats:title>Abstract</jats:title> <jats:p>The postmodern horror comedy The Cabin in the Woods by Goddard (2012) depicts the heavily engineered ritual sacrifice of a group of college students on a recreational getaway. The chief orchestrators of this sacrifice – dubbed ‘puppeteers’ by the film’s protagonists – are Sitterson and Hadley, who in the film clearly inhabit the role of horror director-surrogates. While the parallels between their work and the film-making process have been widely noted, little has been said about what their on-screen representation actually has to say about horror film-makers. This article identifies four key premises on which the narrative hinges – that Sitterson and Hadley are journeyman directors rather than auteurs, that the directorial process is collaborative rather than auteur-centred, that horror directors must work with a prescribed number of finite formulas, and that their work is of considerable societal value – elucidating within The Cabin in the Woods a dialectical dialogue around the role, value and function of contemporary horror film authorship.</jats:p> |