1、 1000 单词， 5600 英文字符， 2000 汉字 出处： Peirse A. The feminine appeal of British horror cinemaJ. New Review of Film & Television Studies, 2015, 13(4):1-18. The feminine appeal of British horror cinema Alison Peirse Department of Theatre, Film and Television, University of York, York, UK When Seance on a We
2、t Afternoon (1964, Bryan Forbes) was set for release, cinema managers were advised that feminine appeal was a strong angle for publicity, and the film went on to be a critical and commercial success. Yet, it is relatively unknown in existing academic histories of horror cinema. The female lead, spir
3、itualist premise and psychological horror make it an uneasy bedfellow with existing accounts of 1960s British horror films, which focus on the sexualised colour-saturated violence of Hammer Studios and its associated offspring. This article reverses this trend by revealing a cycle of 1960s black-and
4、-white British horror films whose primary textual address is to women, manifested through complex female characters, interiority and stories of motherhood, stillbirth and child murder. Utilising Mary Ann Doanes work on maternal melodrama, the article explores the parallels between this cycle and the
5、 womans film, and draws upon reception analysis in order to consider how the critics responded to the female -centred films. It is suggested that not only have film historians failed to note that this cycle exists, but more importantly they have also failed to understand how frightening the films co
6、uld be for a female audience. This article suggests that contrary to existing writing there is a cycle of 1960s British black and white horror films whose primary textual address is to women. The progenitors of these texts come not from Hammer but the nervy black and white European horrors, Les Diaboliques (1955, Henri-Georges Clouzot) and Les yeux sans visage (1960, Georges Franju), not to mention Psycho (1960, A lfred Hitchcock). The cycle not only includes Seance on a Wet Afterno
