US "Indie-Horror": critical reception, genre construction, and suspect hybridity

Jamie Sexton

doi:10.1353/cj.2012.0012

US "Indie-Horror": critical reception, genre construction, and suspect hybridity

Research output: Contribution to journal › Article › peer-review

Abstract

This essay explores the troublesome relationship between horror cinema and American independent cinema, with particular emphasis on the reception of Nadja (Michael Almereyda, 1994) and The Addiction (Abel Ferrara, 1995), ultimately arguing that the continued opposition between "horror" and "art" that exists within a number of film critics' frameworks leads to US "indie-horror" cinema being articulated as a quasi-generic field within which horror tropes are largely absent.

Original language	English
Pages (from-to)	67-86
Journal	Cinema Journal
Volume	51
Issue number	2
DOIs	https://doi.org/10.1353/cj.2012.0012
Publication status	Published - 2012

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AB - This essay explores the troublesome relationship between horror cinema and American independent cinema, with particular emphasis on the reception of Nadja (Michael Almereyda, 1994) and The Addiction (Abel Ferrara, 1995), ultimately arguing that the continued opposition between "horror" and "art" that exists within a number of film critics' frameworks leads to US "indie-horror" cinema being articulated as a quasi-generic field within which horror tropes are largely absent.

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US "Indie-Horror": critical reception, genre construction, and suspect hybridity

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