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4 Dir. by Sean S. Cunningham, Paramount Pictures et al., (1980) 5 Dir. by Wes Craven, New Line Cinema (1994) 6 Dir. by Ronny Yu, New Line Cinema et al. (2003) 7 Dir. by Samuel Bayer, New Line Cinema et al. (2010) 8 Isabel Cristina Pinedo, ‘Postmodern Elements of the Contemporary Horror Film,’ in: The Horror Film, ed. by Stephen Prince (New Brunswick: Rutgers, 2004), 85–117 (pp. 90-91). 9 Especially striking is the circumstance that from A Nightmare on Elm Street 4 – The Dream Master (dir. by Renny Harlin, New Line Cinema, 1988) on, Freddy Krueger turns into a blabbing, tough-talking trickster. 10 In Gestörter Film. Wes Craven’s A Nightmare on Elm Street (Darmstadt: Büchner, 2012). 11 The Elm Street references the great US trauma of the 60s: President John F. Kennedy being assassinated on Elm Street in Dallas, Texas on November 22nd 1963. 12 The Final Girl, a concept elaborated by Carol J. Clover, is the last survivor in the slasher genre, usually a sexually inactive, somewhat masculinized girl who fights the killer with resourceful wit, not being afraid to use violence against him. See for instance Carol J. Clover,’ Her Body Himself. Gender in the Slasher Film,’ Representations 20 (1987), 187–228. 13 Original title: Nosferatu, eine Symphonie des Grauens, dir. by F. W. Murnau, Jofa-Atelier Berlin- Johannisthal and Prana-Film GmbH (1922) 14 Robin Wood, ‘An Introduction to the American Horror Film,’ in: Planks of Reason. Essays on the Horror Film, ed. by. Barry Keith Grant and Christopher Sharrett (Lanham et al.: Scarecrow Press, 2004), 107- 141 (p. 117). 15 Dir. by Tobe Hooper, MGM et al. (1982) 16 Dir. by Chuck Russell, New Line Cinema (1987) 17 Noël Carroll, ‘Nightmare and the Horror Film: The Symbolic Biology of Fantastic Beings,’ in: Film Quarterly 34/3 (1981), 16-25, p. 24. 18 Joseph Maddrey, Nightmares in Red, White and Blue. The Evolution of the American Horror Film. (Jefferson, NC: McFarland & Co., 2005), p. 85. 19 Dir. by Renny Harlin, New Line Cinema (1988) 20 Lewis Carroll, Alice’s Adventures in Wonderland (London: Penguin, 1994), p. 12. 21 Original title: Něco z Alenky, dir. by Jan Švankmajer, Channel Four Films et al. (1988) 24
22 Lewis Carroll, ‘Through the Looking Glass and What Alice Found There,’ in The Annotated Alice, ed. by Martin Gardner (London: Penguin, 2001), 133-288 (pp. 197-198). 25
Page 2 and 3: ACKNOWLEDGMENTS The Luminary would
Page 4 and 5: FOREWORD THE STORY OF THE BED Dr. M
Page 6: CREATIVE PIECE FORMATION OF A DIFFE
Page 10 and 11: “You’re not fucking me,” Laur
Page 12 and 13: I spooned Lauren while rubbing her
Page 14 and 15: CRITICAL ‘NEVER SLEEP AGAIN’ -
Page 16 and 17: ecomes a symbol. These range from u
Page 18 and 19: alarm clock. She has to synchronize
Page 20 and 21: Although they all deal with the sam
Page 22 and 23: the Nightmare series that Freddy-fe
Page 26 and 27: CRITICAL ‘THEN DRAW THE CURTAINES
Page 28 and 29: etweene the two Famous Houses, Lanc
Page 30 and 31: The lack of a critical consensus co
Page 32 and 33: Whereas we might, at the moment, te
Page 34 and 35: Having heard this, the King address
Page 36 and 37: study of the authorship question of
Page 38 and 39: CRITICAL BETWEEN THE SHEETS: ‘LAM
Page 40 and 41: Sophie Calle has built a unique car
Page 42 and 43: of the situation over to Calle. Sim
Page 44 and 45: documents. In abandoning this stric
Page 46 and 47: language systems), thereby mimickin
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Page 50 and 51: homosexual and that I’m going to
Page 52 and 53: CRITICAL SCENES FROM A BEDROOM: SIT
Page 54 and 55: edroom will be considered, in turn,
Page 56 and 57: and imagination, but perhaps it is
Page 58 and 59: phantasm of space. The bed is (both
Page 60 and 61: 4 The Cartel (1978-1988) was an ass
Page 62 and 63: CRITICAL THE PUBLIC AND PRIVATE REA
Page 64 and 65: panelling, with a cupboard door or
Page 66 and 67: customs, rituals and interactions t
Page 68 and 69: mother named Margaret Adams: ‘…
Page 70 and 71: The bed was not the only space with
Page 72 and 73: 25 Samuel Sewall, The Diary of Samu
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CRITICAL JOUISSANCE: JOURNEYS BEYON
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What Cixous calls for in ‘Sorties
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can be released. As contradictory a
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I have a faint recollection from an
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INTERVIEW / REVIEW PROFESSOR TERRY
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uneasy with abstract thought; it pr
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proudly presented to me as the bigg
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absolutely send them into total cha
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