Guide to cinema

HORROR

Horror: translation

As a genre, horror never achieved much appreciation until the 1970s. Of the great studios in the Golden Age, only Universal concentrated on horror films in the classical period, but this was because as a second-string major it was, ideally, an area without much competition from others. Attempts were made to seek legitimacy in the post-classical period with films likePsycho(Alfred Hitchcock, 1960),Whatever Happened to Baby Jane?(Robert Aldrich, 1962), and its sequel of sortsHush Hush Sweet Charlotte(Robert Aldrich, 1964) andSuspense(Jack Clayton, 1960) in Hollywood or, in Europe,Eyes Without a Face(Georges Franju, 1960), but somehow the genre never seemed to take off in the high-end of the industry. Also, these were all worthy attempts to provide thrills, but were in the end too restrained.
In times of economic difficulties, however, producing films that promised rawer sensations could become a life-saving strategy for producers. In the late 1960s, a mix of horror and sex started filling U.S. drive-ins and European screens, quickly reaching wide audiences. In time, gore and extreme violence would slowly make it to the mainstream (for instance withThe Exorcist), but largely horror kept its status as low, unartistic filmmaking.
Spanish film traditions rely heavily on realism, musicals, and comedy, to the extent that fantasy genres and thrillers were almost unrepresented for decades. From the late 1960s, horror is the exception to this rule. The film that seemed to announce the trend isGritos en la noche(Screams in the Night/The Awful Dr. Orloff, Jesús Franco, 1962), but it is the crisis of the late 1960s that forced producers to find cheap and popular formulas that could be distrib-uted internationally. Horror thrillers could reach out beyond national boundaries, although differences incensorshiprestrictions sometimes forced the distribution of different versions. This is the period when British Hammer films, Italiangiallo, and Spanish horror all flourished simultaneously, often recycling motives, themes, stars, and filmmakers.
Three key figures in the golden age of Spanish horror were Jesús Franco, Armando de Ossorio, and especially, Paul Naschy. Naschy, a horror fan since childhood, with a particular interest in the Wolf Man, created the fictional character of Waldemar Daninsky and became one of the most prolific filmmakers in Spanish cinema, as well as one of the most popular. His fan base has only increased with the years, and he has become a cult figure. Armando de Ossorio created a saga around templar monks who rise from the grave, which can be seen as the continuation of the living dead cycle started by George A. Romero. Jesús Franco is also a cult figure who was very active in the gore subgenre. Another example in this first wave of Spanish horror is Narciso Ibáñez Serrador, who, after extensive work ontelevision, where he adapted fantasy and horror classics for his legendary seriesHistorias para no dormir, turned to the big screen. First, he made an accomplished gothic horror tale set in a boarding school,La residencia(The Boarding School, 1969), which included nods toPsychoand the serial killer tradition. His second horror film, the shrewd¿Quién puede matar a un niño?(Who Could Kill a Child?1976) took place in the daylight, more specifically on an island where children have become murderers. Vicente Aranda also tried his hand at the vampire genre withLa novia ensangrentada(The Blood-Spattered Bride, 1972 ). As the Transition came and censorship disappeared, the films became more sexual and gorier.
Changes in legislation in the early 1980s polarized film production between quality projects on the one hand, and sex comedies on the other. At the same time, international horror films were progressively more propelled by expensive special effects, andThe Shining(Stanley Kubrick, 1980) encouraged the respectability of the genre, which was becoming high concept. The key film in the return of horror to the Spanish film industry wasEl día de la bestia(Day of the Beast, Álex de la Iglesia, 1995). The films were now ironic and steeped in cinephilia. Other De la Iglesia films likeLa comunidad(The Community, 2000) andCrimen Perpecto(Perpect Crime, 2004) also included aspects of horror presented in a comic way.
The latest wave of horror in Spanish film is headed by Catalan director Jaume Balaguero. He continues with the tradition of international casts. The Lynchinan shortAlicia(1994) andLos sin nombre(The Nameless, 1999) were followed by the more accomplishedDarkness(2002), shot in English with an international cast, and, more recently, [Rec], co-directed with Paco Plaza (and remade by Hollywood asQuarantinein 2008). Other recent instances include Jaime Bayona, director of the box-office hitEl orfanato(The Orphanage, 2007), Juan Carlos Fresnadillo (Intacto[ 2001 ], who made his international debut with28 Weeks Later[ 2007 ]), Xavier Villaverde (Trece campanadas[Thirteen Curses], 2002), and Nacho Cerdá (the body-horror shortAftermath[ 1994 ] andThe Abandoned[ 2006 ]).
Historical Dictionary of Spanish Cinema by Alberto Mira

  1. horror—мед.сущ. ужас ужасный Англорусский медицинский словарь....Англо-русский медицинский словарь
  2. horror—horror translation noun strong feeling of fearshockADJECTIVE abject absolute pure sheer utter The thought of working nights fills me with abject horror mock She ra...Collocations dictionary
  3. horror—horror translationSee THROW UP ONES HANDS IN HORROR....Dictionary of American idioms
  4. horror—horror translationSee THROW UP ONES HANDS IN HORROR....Dictionary of American idioms
  5. horror—Horror translation As a genre horror never achieved much appreciation until the s. Of the great studios in the Golden Age only Universal concentrated on horror films in t...Historical dictionary of Spanish cinema
  6. horror—horror translationSynonyms and related wordsDracula Frankenstein Wolfman abhorrence abject fear abomination affright alarm allergy angst animosity animus antagonism antip...Moby Thesaurus
  7. horror—[hr]ужас страх боязнь опасение тревогачтолибо или ктолибо вызывающее ужас кошмарсильное отвращение антипатияугнетенное подавленное состояние...Англо-русский большой универсальный переводческий словарь
  8. horror—отвращение ужасы...Англо-русский дипломатический словарь
  9. horror—ужас отвращение of coll. чтол. нелепое смешное...Англо-русский дополнительный словарь
  10. horror—ужас...Англо-русский онлайн словарь
  11. horror—ужас...Англо-русский онлайн словарь
  12. horror—n ужас...Англо-русский словарь Лингвистика-98
  13. horror—horror [hr] nu ужасthe horrors of war ужасы войны отвращение of разг.u мрачное настроение приступ страха разг.u чтол. нелепое смешноеhe is a perfect horror! он неле...Англо-русский словарь Мюллера
  14. horror—сущ. а ужас страх боязнь опасение тревога to express feel horror чувствовать ужас indescribable unspeakable horror неописуемый ужас She expressed her horror at the cri...Англо-русский словарь общей лексики
  15. horror—n .strong страх ужас .strong pl трагические события. strong страх ужас strong мн.ч. трагические события....Англо-русский словарь по социологии
  16. horror—n. отвращение ужас...Англо-русский словарь редакция bed
  17. horror—сущ.emstrong страх ужас мн.ч.em трагические события....Англо-русский социологический словарь
  18. horror—n жах страх огида розм. щось безглузде смшне...Англо-украинский словарь
  19. horror—n . вдраза страх жах . звич. pl жахи страхття жахлив трагчн под s of war страхття вйни...Англо-український дипломатичний словник
  20. horror—жах огиду смшне вдраза кумедне огида...Англо-український словник
  21. horror—n жах страх film фльм жахв огида pl жахлив трагчн под розм. щось безглузде непримне страхття this hat is a це страхття а не капелюх pl пригнчений настрй приступ ст...Англо-український словник Балла М.І.
  22. horror—m ужас страх отвращение чащеem pl гадость гнусность...Большой испанско-русский словарь
  23. horror—. англ. m фильм ужасов . англ. agg spettacolo romanzo horror спектакль роман ужасов Итальянорусский словарь....Большой итальяно-русский и русско-итальянский словарь
  24. horror—m sужас отвращение...Большой немецко-русский и русско-немецкий словарь
  25. horror—Horrorstrong m s уstrongжас...Большой немецко-русский словарь
  26. horror—ris m. оцепенение окоченение geldus h. Sil nivali horrore obducti montes Amm а потрясение h. soli Fl землетрясениеб волнение ponti Lcn грубость неотсанность dicendi Q ...Латинско-русский словарь
  27. horror—страх . . C. Th. ....Латинско-русский словарь к источникам римского права
  28. horror—[hr] n. отвращение и страх ужас омерзениеhorror film [story comic] фильм [роман комикс] ужасовto have a horror of smth. с отвращением относиться к чемул.to be filled wi...Новый большой англо-русский словарь
  29. horror—horror [hr] ni . отвращение и страх ужас омерзение film [story comic] фильм [роман комикс] ужасов to have a of smth. с отвращением относиться к чемул. to be filled wi...Новый большой англо-русский словарь II
  30. horror—hr n . отвращение и страх ужас омерзение film story comic фильм роман комикс ужасов to have a of smth. с отвращением относиться к чемул. to be filled with at the ...Новый большой англо-русский словарь под общим руководством акад. Ю.Д. Апресяна
  31. horror—Р. emu . разг.em фильм ужасов ужастик pot.em. ужас ужасная чудовищная вещь...Польско-русский словарь
  32. horror—[хоррор]фльм жахв трилер film...Польсько-український словник
  33. horror—m ужас страх отвращение омерзение causar horror вызывать отвращение нечто ужасное мерзость...Португальско-русский словарь
  34. horror—Rzeczownik horror m ужас m Potoczny ужастик m фильм ужасов m...Универсальный польско-русский словарь