Gestörter Film Wes Cravens »A Nightmare on Elm Street«
Wes Craven's »A Nightmare on Elm Street« (1984) enjoys cult status today more than ever. The mere thought of its main character Freddy Krueger still sends shivers down the spines of many viewers - and brings a grin to the faces of die-hard slasher fans. Katharina Rein subjects this undisputed g...
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| Format: | Electronic Book Chapter |
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Darmstadt
Büchner-Verlag
2012
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| Online Access: | DOAB: download the publication DOAB: description of the publication |
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| 520 | |a Wes Craven's »A Nightmare on Elm Street« (1984) enjoys cult status today more than ever. The mere thought of its main character Freddy Krueger still sends shivers down the spines of many viewers - and brings a grin to the faces of die-hard slasher fans. Katharina Rein subjects this undisputed genre classic to an intensive reading in which she traces the central moments of the disturbance. Using selected sequences from the film, she uncovers the workings of disruption in the horror genre. Contrary to widespread perceptions, she understands them, following Michel Serres, not as obstructive but as productive. As Rein shows, it is this productivity that has contributed significantly to the enduring success and film historical significance of »A Nightmare on Elm Street«. | ||
| 520 | |a Wes Cravens »A Nightmare on Elm Street« (1984) genießt heute mehr denn je Kultstatus. Allein der Gedanke an seine Hauptfigur Freddy Krueger jagt noch immer vielen Zuschauern einen Schauer über den Rücken - und zaubert eingeweihten Slasher-Fans ein Grinsen ins Gesicht. Katharina Rein unterzieht diesen unbestrittenen Genre-Klassiker einer intensiven Lektüre, in der sie den zentralen Momenten der Störung nachspürt. Anhand ausgewählter Sequenzen des Films deckt sie die Funktionsweisen von Störungen im Horrorgenre auf. Entgegen verbreiteter Auffassungen begreift sie diese im Anschluss an Michel Serres nicht als hinderlich, sondern als produktiv. Wie Rein zeigt, ist es diese Produktivität, die maßgeblich zum andauernden Erfolg und zur filmgeschichtlichen Bedeutung von »A Nightmare on Elm Street« beigetragen hat. | ||
| 540 | |a Creative Commons |f https://creativecommons.org/licenses/by-nc/4.0/ |2 cc |4 https://creativecommons.org/licenses/by-nc/4.0/ | ||
| 546 | |a German | ||
| 650 | 7 | |a Media studies |2 bicssc | |
| 650 | 7 | |a Individual film directors, film-makers |2 bicssc | |
| 650 | 7 | |a Film: styles & genres |2 bicssc | |
| 653 | |a Wes Craven | ||
| 653 | |a Michel Serres | ||
| 653 | |a horror genre | ||
| 653 | |a horror film | ||
| 653 | |a Freddy Krueger | ||
| 653 | |a slasher film | ||
| 653 | |a trauma | ||
| 653 | |a nightmare | ||
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| 856 | 4 | 0 | |a www.oapen.org |u https://directory.doabooks.org/handle/20.500.12854/78382 |7 0 |z DOAB: description of the publication |