Titlebook: Hollywood‘s Stephen King; Tony Magistrale Book 2003 Palgrave Macmillan, a division of Nature America Inc. 2003 America.cinema.culture.fict

混沌

Technologies of Fright: Christine, Maximum Overdrive, the Running Man, the Mangler, the Night Flier is the only example where there is the threat of a recognizable horror monster—the werewolf—at the epicenter of the narrative. The monsters that most frequently emerge from Stephen King’s imagination would appear to wear decidedly human faces: They form portraits of severe mental illness (Annie Wil

seroma

,King of the Miniseries: ‘Salem’s lot, it, the Stand, the Shining, Storm of the Century, Rose Red, the smaller screens of household televisions. The films of Stephen King translated into made-for-television adaptations—the longer teleplays belong to a television genre called the miniseries—typically have appeared on successive evenings, usually ranging from two to three nights. Not incidentally,

背心

978-0-312-29321-5Palgrave Macmillan, a division of Nature America Inc. 2003

名词

Grating

蚀刻

menopause

The lost Children: Carrie, Firestarter, Stand by Me, Silver Bullet, Hearts in Atlantis,e innocence of adolescence must confront adult realities, a journey that is always fraught with violence and danger. King’s children cling to their youthful idealism and romantic vigor, but these elements are always imperiled by.random moments of violence and oppressive codes of behavior imposed fro

FILTH

Maternal Archetypes: Cujo, Misery, Dolores Claiborne,on of the novel . (1986), Karen Thoens reduced the monster in the text to an essentially feminine archetype: “It could be repulsive female sexuality. But mostly It is actually She. … It is your mother. It, nameless terror. It is bloody, filthy, horrible. The boy-men heroes have returned to Derry to

Grasping

Paternal Archetypes: the Shining, Pet Sematary, Apt Pupil, often appears to require an active, illicit bond between a male (often in the role of a father or father surrogate) and a younger, formerly innocent individual (often in the role of biological or surrogate progeny) who is initiated into sin. And this is a pattern that is repeated in work as diverse

逃避现实

Technologies of Fright: Christine, Maximum Overdrive, the Running Man, the Mangler, the Night Flierreepy Carrie”). It is not that King is averse to recalling from the shadows the supernatural archetypes of the horror genre—in fact, this chapter will acquaint the reader with several versions of the vampire in mechanized form—but