Horror and the Holocaust: ‘Prestige Horror’ and Frank Pierson’s Conspiracy (2001)
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Steffen Hantke
Abstract
In an article published in 2004, Picart and Frank examined the use of stylistic and thematic elements Holocaust cinema can borrow from the horror film. Their argument at the time was constrained by the availability and their choice of primary texts, but the recent emergence of what has been called ‘prestige horror’ invites viewers to revisit their critical arguments and positions. Since ‘prestige horror’s’ aesthetic strategies tend to challenge conventional definitions of the horror genre, revisiting Picart and Frank’s argument proves most productive in the context of a Holocaust film, Frank Pierson’s Conspiracy (2001), which, in turn, operates in creative dissonance with some of the conventions of Holocaust cinema.
References
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© 2021 Walter de Gruyter GmbH, Berlin/Boston
Artikel in diesem Heft
- Frontmatter
- Editorial
- Editorial
- Articles
- Measured Life: Making Live, the “Modern System of Science,” and the Animated Bodies of Frankenstein
- London and Cloisterham as an Imperial ‘Heart of Darkness’ in Dickens’s The Mystery of Edwin Drood
- Searching for the Broad Present: The Chronotope in Teju Cole’s Open City
- (Dis)Enchanting the City: Charles de Lint’s Urban Fantasy Fiction
- Horror and the Holocaust: ‘Prestige Horror’ and Frank Pierson’s Conspiracy (2001)
Artikel in diesem Heft
- Frontmatter
- Editorial
- Editorial
- Articles
- Measured Life: Making Live, the “Modern System of Science,” and the Animated Bodies of Frankenstein
- London and Cloisterham as an Imperial ‘Heart of Darkness’ in Dickens’s The Mystery of Edwin Drood
- Searching for the Broad Present: The Chronotope in Teju Cole’s Open City
- (Dis)Enchanting the City: Charles de Lint’s Urban Fantasy Fiction
- Horror and the Holocaust: ‘Prestige Horror’ and Frank Pierson’s Conspiracy (2001)
