Yale University Sterling Memorial Library Interlibrary Loan Borrower: CWR ILL Number: 62125597 INE Patron: Spadoni, Robert Journal Title: Film intemational. Volume: 6 Issue: 6 Month/Year: dec 2008Pages: unknown Article Author: Article Title: spadoni, robert ; Tracking the Werewol, review of Chantal Bourgault du Coudray, The Curse of the Werewolf; Fantasy, Horror and the Beast Within Imprint: [Goyteborg, Sweden) ; Film Intemational ILLiad TN: 41429; ‘i Ra 2 cai: PN1993 F557213 - v.6 ISSUE 6 2008 DEC. Location: SML STACKS LC CLASSIFICATION = DTBLSS (216) 368-4272 216-368-3517: ‘smithill@case.edu Emai Shipping Address: Case Westen Reserve University Keivin Smith Library, ILL Access Services 11056 Euclid Avenue Cleveland, OH 44108 Charge Maxcost: 351FM RESEND REQUESTS must be submitted within four (4) WORKING DAYS of original transmission, Thanks! 2/1/2010 2:29 PM. via ARIEL (130.132.80.19) or FAX (203-432-2257),Book Reviews Book Reviews Tarkovsky, Nathan Dunne (ed), (2008) London: Black Dog Publish- ing, 464 pp, ISBN-13: 978-1-906155-04-8 (nb), $49.95 Black Dog’s new compendium of essays on the great Russian film-maker, Andrei Tarkovsky, belongs in a fairly recent cat- egory of film studies titles, intellectual coffee-table books or prestige books, which offer themselves as comprehensive, even definitive works. These are literally and figuratively peer and contemporary, the timeline of contextual events Weighty tomes, labours aflove, | body of works dauntingin its | “completes he volume critical essays expensively ‘Profound beauty, grandeur and | Complementing the scope of errr ——rs—~—“™=‘EEUCrsCNrtCM tion values throughout their range of film stills, contex- tual artworks and cinematic images. Like Taschen's The Stan- a8 one of the most significant | breadth of its contributors’ in the history of the moving expertise, with an obvious slant image'(p.6).Dunne's method- | given towards European and ology, in response, is to group | Russian scholars familiar with Hey Hubrick Archives 2005) and | the set ofeiical treatments | the particular contexts of ‘The Ingmar Bergman Archives | into, four encompassing seg- | Tarkovsky's career and his (2008), and Phaidon’s Hitchcock | ments: ‘Russia and Religion’ often-troubled productions. The at Work (2003), Fransois Mufaut | (situating Terkovsky's free in methodologies, by consequence, ‘at Work (2005) and Orson Welles | proximate moments of Soviet vary from Jean-Paul Sartre's at Work (2008) the end prod- polities and culture), art and eloquent defence of lvan's vucts of such an approach are | Nature’ stylistic discourses Childhood (1962) on the grounds physically impressive as well | and’ their relationship with of its defamiliarizing art-cinema 36 analytically productive, _| landscape and rmise-en-scéne), | treatment of war, to Evgeny ihavsky's introduction by | "Music and Modemity” (Tark- | Tsymbal's application of the editor Nathan Dunne, wie | ovsky as an auteur of seuna Tarkovsky's famous ‘sculpting slso contributes four ofthe | design and interiority) and in time’ principles to the design of Stalker (1979); to analyses of book's twenty-four essays (plus | ‘Memory ‘and Awakening’ appendices), notes up front that | (which foregrounds colevo- adaptation (literary and objective assessment of the rators’ memoirs, illustrating painterly) in essays by Mikhail Russian auteur has long proved { the evolution of Tarkovsky’s Romadin (mainly on Solaris a challenge. Despite the paucity | approach to cinema). Acollec- | (1972)) and Dunne (on The of Tarkovsky’s output just tion of useful supplementary ‘Sacrifice (1986)), The best of the seven features and three shorts texts - ranging. from Tarkovsky's | essays here, and none is ‘ina lifetime of work - like father’s poetry, toa rather spare | without ‘interest, strike a good Reberr Bresson, an arthouse” filmography ard index, te balance - always difficult with 86 | film international iesne 38,Pie Book Reviews Tarkovsky, Nathan Dunne (ed)), (2008) London: Black Dog Publish- ing, 464 pp, ISBN-13: 978-5-906155-04-9 (hbk), Black Dog's new compendium of essays on the great Russian film-maker, Andzei Tarkovsky, ‘belongs ina fairly recent cat- gory of film studi intellectual coffee-table books cor prestige books, which offer themseives as comprehensive, even definitive works, These are literally and figuratively ‘weighty tomes, labours of love, critical essays expensively packaged with lustrous produc- tion values throughout their range of film stils,contex- tual artworks and cinematic mages. Like Taschen's The Stan ley Kubrick Archives 2006) and The Ingmar Bergman Archives (2008), and Fhaidon's Hitchcock at Work (2003), FrangisTrufaut at Work (2005) and Orson Welles «at Wor (2008), the end prod- ‘ucts of such an approach are Physically impressive as well as analytically productive. Tarkovsky’s introduction, by the editor Nathan Dunne, who also contributes four of the book's twenty-four essays (plus appendices), notes upfront that objective assessment of the Russian auteur has long proved «a challenge. Despite the paucity of Tarkovsky’s output -just seven features and three shorts ina lifetime of work -like Robert Bresson, an arthouse peer and contemporary the body of work is daunting in its ‘profound beauty, grandeur and [which] today stands as one of the most significant in the history of the moving image’ (p.¢). Dunne’s method- logy, in response, is to group the set of critical treatments into four encompassing seg- ments: ‘Russia and Religion’ (ituating Tarkovsky's Slme in proximate moments of Soviet politics and culture), Art and Nature’ (stylistic discourses and their relationship with landscape and mise-en-scine), ‘Music and Modemity’ (Parke ovsky as an auteur of sound design and interiority) and "Memory and Awakening’ (which foregrounds collabo. rators’ memoirs illustrating the evolution of Terkovsky's approach to cinema).A collec tion of useful supplementary ts ranging from Tarkoveky’s father’s poetry, to a rather spare Slmography and index, to a 86 | Slm iterations enue 36 Below Stalker timeline of contextual events ~ completes the volume Complementing the scope of Tarkovsky’s structure is the breadth ofits contributors’ ‘expertise, with an obvious slant siven towards European and Russian scholars familiar with the particular contexts of ‘Tarkovshy’s career and his coften-troubled productions. The ‘methodologies, by consequence, vary from Jean-Paul Sartre's eloquent defence of van's Childhood (1962) on the grounds of its defamiliorizing art-cinema treatment of war, to Evgeny ‘Taymbal’s application of Tarkovsiy’s famous ‘sculpting sn time’ principles tothe design ‘of Stalker (1973); to analyses of adaptation (literary and painterly) in essays by Milkhll Romadin (mainly on Solaris (0972) and Dunné (on The Sacrifice (1986), The best ofthe essays here, and none is ‘without interest, strike a good Dalance— always difficult with Book Rev mes Tarkovsky =. undoubtedly } the flm-make practice, and logistical cine that make his undiluted by¢ time, On this» piece (What\ Do?) is suppl people, the Su Foster, whe pz homage to Tar on his career! achievements ‘magisterial lo ovsky as the a sequence-sho but paradoxic protagonists a of form in wh: bears repeatin tive and perve nicative films, by noting that cr fathom con director’ text. ing, but nonet) comes to expl: ‘unique artistic I shall continu Is anice sum landmark volt wally elusive films never se from the cano Contributor ‘Tim Palmer Professor of at the Unive Carolina Wil most recent City of Shad Crime Ciner New Wave’, lished in the issue of New and TelevisionBelow Stalker tual events lume. the scope of teis the butors’ sbvious slant ‘pean and smiliar with ats of and his luctions, The garcinema Evgeny mnet ‘sculpting a the design nalyser of and ay Mikal Solaris in The >estof the ke a good fcuk with Book Reviews —_—_. ‘Tarkovsky - between the : undoubtedly lofty ambition of | Tracking the Werewolf the film-maker’ theory and The Curse of the practice, and the applied, Werewolf: Fantasy, Horror logistical cinematic minutiae nd the Beast Within, that make isms so striking. | Chantal Bourgault undiluted by the passing of me. On this note, astrong nal | AY Coudray, (2006) Piece (What Would Tarkovsky |” London: 18 Tauris, 224 Do?’ is supplied by, ofall people, the Swiss director Mare Foster, who pays practical pp. ISBN 1645111583 (obi, 37.96, 1s6N | 3a4s1a2575 (now, £540 homage to Tarkovsky's impact on his career by citing his achievements in the areas of | Werewolves offerrich possibili- | ‘magisterial long takes (Tark- | ties to storytellers and inter- ovsky asthe anti-Eisenstein | preters looking for monsters to Sequence-shot devotee), opaque | charge with symbolic mean. but paradoxically mesmerizing | ings. The cooperative shape. rotagonists and the spirituality | shifter hes accommodated a of form in what are often, it wide variety of philosophies Dears repeating, counterintul- | and critical perspectives. Guy ‘ve and perversely uncommu- | Endore, for example, in his nicative films. Foster concludes | novel The Werewolf of Pars, inds by noting that he probably can | in the figure an apt metaphor ever answer his own question, | for the deadliness and scale or fathom completely this of modem warfare: Instead directors textual decision-mak- | of thousands, future ages will ing but nonetheless, when it | Jill millions. It will go on, the comes to exploring Tarkovsky's | figures will rise and the pro unique artistic process,'Tknow | cess will accelerate! Hurrah shall continue to ask’ (p. 405). | for the race of werewolves!’ 1s a nice summary for a (Endore 1933: 260-91). For landmark volume on aperpet- | James Twitchell (1985: 221-25), Lally elusive film-maker whose | the film The Wol) Man (George films never seem torecede | Waggner,1941)~in which ‘rom the eanon, on Chaney's confused Larry Talbot finds himself prone to Contributor details convulsive bodily tansforma- = ~~ | tions involving hair sprout- Tim Palmeris Associate | ingin unexpected places, and Professor of Film Studies | new, raging, carnal appetites at the University of North | ~ dramatizes the changes that Carolina Wilmington. His” | wrack every adolescent boy in ‘mostrecent essay,’Paris, | the throes of puberty. Others City of Shadows: French’ _| note the figure’ enslavement Crime Ginema Before the | to the moon's monthly eycles New Wave’, was pub- and see the werewolf emulat- lished in the August 2008 | ing the sexual awakenings not | issue of New Review of Fm | of boys but gils (vans 1596. and Television Studies, 56), Perhaps second only to the vampire in semantic versatiity, the werewolf services innu- erable agendas on a range that includes Endore's march- {ing millions and Twitchell, psychosexualized teenagers, Now, Chantal Bourgault du Coudray has provided a fas: cinating study of this endur- ing figure, paying particular attention to the werewolfs shifting and complex relation- ship with notions of self- hood, gender and nature. Bourgault du Coudray begins by considering accounts of ‘Werewolfism running back to antiquity. She describes how in the nineteenth century this figure, ike the vampire, began to reflect distinctly modem anxieties. Gothie literature, lashing back at the sunny claims of the Enlighten- ment, included werewolves in its catalogue of figures who illustrate the perennially dark, uncontrollable and passion- ruled underside of human nature. Also in the nineteenth century, new ideas began to be elaborated that would find Tesonance in werewolf stories. Darwin's theory of evolution inspired some to speculate, with dread, that if humanity was ever creeping forward, it might at any moment slide in the opposite direction. Such ‘worries found expression in accounts ~ some in Gothic lit- erature, others in case studies of ‘actual’ lyeanthropes - of, individuals who transformed, or believed they did, into rav- ening wolves. Others viewed wolf bodies as astral projec- tions, thus updating the myth to suit the popular spititual- ist movement of the century, Bourgault du Coudray shows, inher second chapter, how the ‘werewolf reflects a number ‘weve na | 87Book Reviews Below An American Werewolf in London of ambivalences bound up in notions of the self and other. For one's sense of identity to be stable, that against which itis defined must be construed as external, Many stories depict werewolves attacking from ‘without, rising up out of the lower classes, or taking the form of racially or ethnically foreign invaders. However, werewolves just as easily can bbe seen to emerge from within. ‘The figure renders subjectivity {n spatial terms, visualizing an inside/outside schema in which normal-looking exteriors har- bour dangerous, wild and secret cores. Werewolves embodied new models of thinking about | Important to her argument —_| notions of masculinity with ‘entity in a cenrury thatsaw | is that Freud's theory of the | new intensity. Bourgault du 1 revolution in conceptions of | human psyche so thoroughly | Coudray notes, however, that | mentalitiness,and one that | intertwipen with nee concep: | contradictions inherent in 1 envisioned outwardly civilized | tion of masculinity that to the werewolf must come to ‘ ‘human psyches built on lower | study one is, simultaneously, | bear in considerations of this | Stata—buried butnevererased | to study the other. Marked | rampaging hyper-masculin- ~ consisting of earlier and men in werewolf stories - tor- ity, for, as Barbara Creed and more savage stages ofhuman- | tured, divided, able to contain | others show, the figure can, ‘ty Signallingits main theme, | their perversely ibidinous | be understood to embody the author titles this chapter inner selves for only so long | feminine qualities as readily ‘Upright Citizens on AllFours’. | and violently aggressive, with | as it does masculine ones, Bourgault du Coudray next | a demonstrated taste for ‘The fourth chapter continues introduces one of the book's | female victims ~ thus become | the focus on masculinity but Sentral topics, which is gender. | spectacular embodiments of | rums to Jung's model of human This she situates within the | Freud's dualistic conception _| psychology. While the author ‘ongoing reflection on reigning | ofa specifically masculine | highlights similarities between discourses of the nineteenth | psyche, Films like The Wolf Jung's and Freud's conceptions century, which, she continues | Man represent ‘case stud. of the beast within’, she con- to show, intersect the were- | ies’ that are easily rendered _| centrates on differences, ung, ‘wolf figure in many ways, In in psychoanalytic terms. In | interested in evolutionary his- particular she focuses on how | the 1980s, new innovations in | tory more then personal history, figud redefined existing dual- | special effects technology and _| provides the philosophical bes istic accounts of subjectivity in | the rise of the "body horror’ for Robert Fisler's study Man {erems of the conscious and the | subgenre, yield such films a9 | into Wolf (1953), which argues Unconscious. The unconscious, | The Howling Yjoe Dante, 1981) | that modem human atrecites of course, became the domain | and An American Werewolfin | such as those perpetrated by of the beast’, which, though | Londen John Landis, 1981), the Nazis are possible because one might repress it,continu- | in which extended transfor | the ancestral memories of men ously works on~andindeed | mation sequences featuring | (and the gender matters to undergirds~the conscious |! rippling, Popping sinews and | Bourgault du Coudray), hunting Self This beast might atany | grotesquely over-articulated | in packs with lupine ferocity, moment erupt to the surface, musculatures dramatize still live in the modern psyche. 88 | im i al issue 36 SS emer tear TanerBook Reviews of ambivalences bound up in notions of the self and other. For one’s sense of identity to be stable, that against which its defined must be construed as external, Many stories depict Werewolves attacking from ‘without’, rising up ou of the lower classes, or taking the form of racially or ethnically foreign invaders. However, werewolves just as easily can bbe seen to emerge from within. ‘The figure renders subjectivity {n spatial terms, visualizing an inside/outside schema in which normal-looking exteriors har- our dangerous, wild and secret cores, Werewolves embodied new models of thinking about Identity in a century that saw a revolution in conceptions of ‘mental illness, and one that envisioned outwardly civilized human psyches built on lower strata ~ buried butnever erased ~ consisting of earlier and ‘more savage stages of human- ity, Signalling its main theme, the author titles this chapter ‘Upright Citizens on All Fours’ Bourgault du Coudray next introduces one of the book's central topics, which is gender. This she situates within the ongoing reflection on reigning discourses of the nineteenth century, which, she continues to show, intersect the were- ‘wolf figure in many ways. In particular, she focuses on how Freud redefined existing dual- istic accounts of subjectivity in terms of the conscious and the unconscious. The unconscious, of course, became the domain of ‘the beast’, which, though ‘one might repress it, contimu- ously works on ~ and indeed. undergirds ~ the conscious self. This beast might at any moment erupt to the surface. 88] frm international issue 35, Important to her argument is that Freud's theory of the human psyche so thoroughly intertwines with his concep- ton of masculinity that to study one is, simultaneously, to study the other. Marked men in werewolf stories - tor ‘ured, divided, able to contain their perversely libidinous inner selves for only so long and violently aggressive, with a demonstrated taste for female victims ~ thus become spectacular embodiments of Freud's dualistic conception of a specifically masculine | psyche. Films like The Wolf ‘Man represent ‘case stud- ies' that are easily rendered in psychoanalytic terms. In the 1980s, new innovations in special effects technology and the tise of the ‘body horror’ subgenre, yield such films as The Howling Yoe Dante, 1983) and An American Werewolfin London Yobn Landis, 1921), in which extended transfor ‘mation sequences featuring ppling, popping sinews and grotesquely over-articulated musculatures dramatize Below An American Werewolf in London Dew intensity urge du Coudray notes, however, that contradictions inherent in the werewolf must come to bear in considerations ofthis "rampaging hyper masculin iy, foras Barbara Creed and others show, the figure can be understood to embody feminine qualles as readily aeitdoes masculine ones. The fourth chapter continues the focus on masculinity but tur to jung’ model of human psychology While the author Dighlightssimarties between Junge and Freud's conceptions of te’beast within’, she con centrateson differences jung interested in evoltionay his- tory more than personal history, provides te pilosophical basis for Rober filers study Man ino Wolf (195), wich argues that moger human atecbes such a5 those perpetrated by the Nazis ae posetble because the ancestral memories of men (ond the gender matters to Bourgaulé du Coudray), hunting in packs with lupine ferocity, | sate in the modern payee | notions of masculinity with Book Review Ey ‘These memories, E only need the right cobeabalenediey geringresidues can in superstitions, pe and cross-eultura, who turn into woly galt du Coudray a Texts, from Jack Lor Call ofthe Wid (180: Nichals's fim Wolf construe the ‘call wolf in positive an: terms. These and ot present idealized vi turn to a truer, nal, more ‘natural ( ‘With her fifth ch gault du Coudray to consider female wolves. Female we tend to be characti differently than th common male cou Often ravenously b ic, and drunk witt these werewolves stories that make ¢ these femmes fata pelled by the pleae the flesh’, in the er Jess than what the Attention to the lw) ets of such 1920%-1 magazines as Weir. (some of which are Guced in the book), ‘werewolf stories th make this one of tk liveliest chapters. also notes how, in stories, the close id tion of femininity ¥ hhas moved some at construe femsle we in a more positive | wolf fictions that es explore issues of fe include Angela Cart ‘Company of Wolves partial inspication f Jordan's 198¢ fm, ¢nity with rgault du vever, that srentin come to ons of this xreed and yhre can body as readily rontinues inity but of human, xe author ss between anceptions she con- dees. jung, nary his- >aal history, phical basis iy Man te argues atrocities rated by because {es of men rsto 1} fnunting ferocity, n poyche Book Reviews Sen eS ‘These memories Eisler wars, only need the right conditions tobe awakened, and their lin. geting residues can be glimpsed in superstitions, persistent and cross-cultural, about men ‘who tum into wolves. Bour- gault du Coudray also considers tents, from Jack London's novel Call of the Wit (1908) to Mike Nichols’ film Wolf (1996), that construe the ‘call to become ‘wolf in positive and even noble terms. These and other texts Present idealized visions of a return to a truer, more origi- nal, more ‘natural’ (male) self, With her fifth chapter, Bour- geult du Coudray shifts gears to consider female were- wolves. Female werewolves tend to be characterized differently than their more common male counterparts Often ravenously hedonis- tic, and drunk with power, these werewolves appear in stories that make clear that ‘these femmes fatales, com. pelled by ‘the pleasures of the flesh’, in the end get no Jess than what they deserve Attention to the lurid cove ers of such 19203-1930s pulp magazines as Weird Tales (Some of which are repro- duced in the book), and the werewolf stories therein, make this one of the bock’s liveliest chapters. The author also notes how, in more recent stories, the close identifica- tion of femininity with nature has moved some authors to construe female werewolves in a more positive light. Were- wolf fictions that explicitly explore issues of femininity include Angela Carter's ‘The ‘Company of Wolves’ (1979, partial inspiration for Neil Jordan's 1984 film, co-written | by Carter, of the same name) and the Ginger Snaps films (various directors, 2000-04). ‘The book keeps the focus on female werewolves as, in the final chapter, it turns from hor- ror to fantasy. Here the book also veers into postmadern territory taking as inspira- tion - for this chapter's title, Manifesto for Werewolves’, and central methodological thrust Donna Haraway's exsay'A Man- ifesto for Cyborgs’. Haraway inspires Bourgault du Coudray to devise an escape from a trap into which many werewolf stories written with the most progressive and revisionist intentions have fallen, Ener ed by philosophies that valo- Tze femininity for its closer (than male) connection to nature, some authors of fernale werewolf stories unwittingly reinforce the same polarities ~ between nature and culture, self and other, male and female = that one finds asserted in ‘much less progressive werewolf fictions, Bourgault du Coudray Gescribes authors who, instead, imagine hybrid subjectivities that, rather than merely revers- Ing the old, limiting polarities, explode these distinctions alto- gether. She convincingly argues that the werewolf, particularly as depicted in fantasy narra- tives, serves, like Haraway's cyborg, as a means to explore alternative, freeing conceptions of human identity. Fantasy nar- ratives in recent years depict werewolves as sympathetic figures with whom readers ccan identify. (She also notes that sympathetic werewolves ccan be found in stories dat- ing back to the 1930s) These werewolves proliferate in leven greater numbers in such recently emergent phenom- na as werewolf role-playing games and Internet blogs. Fantasy thought by many exitics to be politically and formally rewograde, remains uunder-theorized compared to the horror genre. These nega- tive views, the author argues, hhave led critics to miss the transformative potentials fnherentin the fantasy genre. One such potential concerns a ‘heightened sense ofthe human ‘connection tothe naeural world and, with tis, greater sensitivity to ecological issues. ‘Werewelves in horror stories are tormented by thei secret natures, Ones in fantasy stories, by contrast, are more likely to embrace their inner wolves and, writes Bourgault du Coudray, ‘understand the pleasures of embodiment’ (p. 140) These characters choose alterna- tive lifestyles, showing by example thet itis possible to break free of older templates that have been defined along rigid gender lines. They chal- lenge the same bifurcated, masculinized conception of subjectivity that werewolf fictions at earlier times have just as vigorously supported. ‘Sometimes, in the effort tw istoricize and theorize a subject that spans centuries, ‘media, forms and genres, the book glosses too many texts when it might have singled out a few and lingered. More close analysis of individual texts would have allowed the author toreflect on meaningful differ ences; formal ones, for example, between, say, fms and print, fiction, This sort of distinction is something the book does not consider. More close reading also would have softened the weil | 89Book Reviews book's pervasive tendency to | Also impressive is the range of see werewolves illustrating vari- | kinds of texts she merges into ous trends. While some of this | her analysis~ from litera- is helpful for situating the were- | ture to court cases to films to wolfin larger contexts, indulg- | intemet usemet groups. Her ing the impulse too often comes | study spans disciplines, from at2 price. Here is an example of | anthropology to psychiatry ‘an overused rhetorical strategy:, | to literary criticism, Together, In the context of such shifts ' | with Brian Frost's essential in linguistic and authorial stan- | The Essential Guide to Were. dards, the mingling of romantic | wolfliterature, Bourgault du language, moral instruction | Coudray’s book should stimu: and scientific intent in [Sabine] | late further scholarly enquiry Baring-Gould's monograph on | on a fascinating subject.» the werewolf can be under- stood as a direct reflection. of the transitional period in . which it was published. (p.30) | Contributor detail sis as though the werewolf | Robert Spadonihelde’y figure on its own cannot be Ph.D. from the Universit peaced to justify the weight of | ofchicago. He tencher | Bourgoult du Coudray's study. | fim stues ce Case | When the figure gets swamped | Western Reserve U ver. | 8 Context, an opportunity is | sity in Ohio, and se the | missed to explore more fully | Sayin of Uncanny Bod- j {Re werewolf phenomenon in | ies: The Coming of Sound allits vividness, complexity | Film and the Origins ofthe | and idiosyncratic specificity, Horror Genre (University : Another problem is the of California Press, 2007) book's unreflective and uneriti- cal invocation of Slavoj Zizek, | Refer = He tends to appear at the Endore, G. (1933), The ends of chapters, where he Werewolf of Paris, New unfailingly resolves contradic. tons and suggests solutions to conundrums elucidated York: and Rinehart, Evans, W, (1996 (1973), ‘Monster Movies: A Sexual in the preceding pages. The Theory’ in B.K. Grant (ed), application of his ideas seems, | plane of Reason: Essays on in places, too facile, and the the Horror Fitm, Lanham, results are less compelling MD and London: Scare- then, for ‘example, the won- derful insights yielded by the tum to Haraway's cyborg, Still, the book remains a valu- able contribution to an impor | tant field of study. Bourgault du I Nersity of Wiscon: Coudray is a natural ‘explainer, ‘Twitchell, J.B, (1985), Tippingly, she defines terms as | Dreadful esse vn Frost, BJ. (2003), The Essential Guide to Werewolf Literature, Madison: Uni- she goes (positivism, ontogeny), | Anatomy of Modern Hor- bringing along the uniniti- ror, New York and Oxford: ated without annoying read- | Oxford University Prese ets already versed in the lingo. : 90] film international issue 36 Saree f } iit DEBATE DISCUSS DISCOVER PASSION | | IN MOTION | (PICTURES) TOTAL P.23