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Splatter film

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Als Splatterfilm bezeichnet man eine Art des Horrorfilms, bei der die Darstellung von exzessiver Gewalt und Blut im Vordergrund steht. Das englische Verb to. Als Splatterfilm wird ein Filmgenre bezeichnet, das vorzugsweise in Horrorfilmen und seltener in artverwandten Genres Anwendung findet, in denen die. Auf der Suche nach Splatter Filmen? Finde die besten Splatterfilme in Dieser Film setzt auf Brüste - Sexy Frauen und ordentlich Blut. Geschichte und Dialoge. Die besten Splatterfilme. Einträge. Splatter ist in Horrorfilmen für viele ein mächtiger Spaßmacher und das wichtigste Kriterium. Nach den Kultfilmen „Bad Taste“ und „Meet The Feebles“ gelingt es dem Neuseeländer Peter Jackson mit „Braindead“ dem Splatter-Genre mit dieser.

splatter film

Die besten Splatterfilme. Einträge. Splatter ist in Horrorfilmen für viele ein mächtiger Spaßmacher und das wichtigste Kriterium. Splatterfilm. Splatter ist ein lautmalerischer Begriff, der vom Geräusch an die Wand spritzenden Blutes stammt, und bezeichnet daher Szenen oder ganze Filme. Als Splatterfilm bezeichnet man eine Art des Horrorfilms, bei der die Darstellung von exzessiver Gewalt und Blut im Vordergrund steht. Das englische Verb to. Ogi got the jar of honey from some natives while staying in Please click for source America. Cannibal Holocaust For anyone who thinks that all Goona Goona movies article source alike, a trip through this particular jungle hell should quiet those concerns once and for all. Dario Argento co-wrote and produced. Krule 7 episodes, Sign In.

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This adolescents in danger effort brought fountains of foulness back to horror in a big, bad way. Perhaps the most infamous film in the entire Takashi Miike catalog, this tale of torture and vengeance among sadistic members of Japan's Yakuza contains some of the most hideous human vivisection ever.

While some will argue that his horror romance Audition contains worse examples of violence, nothing can top Ichi 's relentless brutality.

Dario Argento co-wrote and produced. Lamberto Bava directed. Audiences vomited. Really nothing more than 90 minutes of dazzling and disturbing make-up effects set inside a weird film within a film narrative, it was proof that '80s Italians had not forgotten the vile vein juiciness of their '70s counterparts.

It was quite an amazing accomplishment for a Hollywood mainstream movie: John Carpenter took the '50s classic monster in the Arctic backdrop and added in a splattery, shapeshifting element.

Then the resplendent Rob Bottin brought it all to life. It remains a hideous high water mark in both of their careers.

Though he didn't have much money to realize his aims, first time filmmaker Sam Raimi had a bounty of artistic vision to draw on.

The results are this gore drenched trip into Kandahrian demonology and the Book of the Dead. One of the few films that's just as noxious now as it was a quarter century ago.

Dario Argento revisited his giallo beginnings by taking on this surreal story of a novelist whose violent books are seemingly coming to life.

Features a famous slasher tracking shot, an axe to the head, and a last act example of arterial spray that remains one of the artform's most visceral.

For anyone who thinks that all Goona Goona movies are alike, a trip through this particular jungle hell should quiet those concerns once and for all.

Ruggerio Deodato made a geek show as Greek chorus, a strident social commentary on the state of the news media glossed over with offal and gratuitous animal slaughter.

Like a far more serious version of Riki-Oh , this minutes of mind boggling body busting from director Ryuhei Kitamura is about as blatantly balls to the wall as zombie crime action films get.

In fact, it's one of the clearest cases of cinematic blood lusting ever to make a major international splash.

It has so many favored fright scenes — death by disemboweled intestines, sex with a severed head, a last act undead roundelay — that it's hard to single out just one for acknowledgment.

Indeed, this fascinating first feature by former Chicago theater director Stuart Gordon stands as the benchmark for all Troma-inspired horror comedies.

From an asylum inmate given a razor to slash at the imaginary bugs crawling on his body to the head psychiatrist's Cenobite transformation, this is about as grotesque as Clive Barker's mind's eye gets.

Like a Technicolor yawn come to life, or a trip to Skid Row accented by actual liquefying members of the homeless, this gorehound grand slam hasn't been topped in over 20 years.

It's a fright freak's love letter to fellow film nerds, a shockingly surreal social indictment dripping with make-up effects magic.

This German atrocity represents director Jörg Buttgereit's most demented vision. The story of a street cleaner who brings home a corpse to spice up his sagging sex life, this unrelentingly depressing exercise in excess is one of those "see it to believe it" experiences.

The ending remains one of gore's most unsettling ever. Known to American blood fiends by its far more evocative name, The Gates of Hell , this undeniably brutal effort from splatter master Lucio Fulci has it all — a woman vomiting up her own guts in long, extended takes , a man taking a huge power drill through both temples, and lots of flesh hungry zombies.

This epic Hong Kong sluice fest stands as a cartoonish companion piece to all the serious slice and dice out there, but that doesn't make the blood any less bountiful.

Telling the tale of a young man with superhuman strength, this is nothing more than mindless mayhem accented with human punchlines. And it's genius.

Robert Rodriguez's homage to the grindhouse films that he and pal Quentin Tarantino obsess over is so blatantly overdone and "yes" to excessive that you actually believe the filmmaker can't find another terror taboo to bust.

And then he goes and paints the screen with gallons of logic defying and tolerance testing funk. Proving that no one does Troma better than the company itself, this greatest hits package from the studio that started the joyful celebration of splatter is a remarkable achievement.

In such a CGI heavy day and age, it's all foul or is that fowl physical effects. The results are truly a disgusting step beyond.

Peter Jackson's zany zombie stomp is really a comedy. The only difference between this Kiwi's sense of humor and that of your typical Hollywood rib tickler is the use of the living dead as macabre Marx Brothers.

For the notorious lawnmower scene alone, or the classic baby in a blender bit, this film remains a mangled masterpiece.

Tom Savini's autopsy level work here remains so completely disconcerting and ultra-realistic that fans still flinch when the Frankenstein's lab scene is disgusted.

Topping everything he's done before, the make-up wizard has never been better. While Night and Dawn remain George Romero's best, Day delivers on what the genre really craves — literal vats of bodily fluids.

MTV's central role in delivering grunge to a national audience in the early s demonstrated the network's power as a creator and definer of culture.

Philosopher and historian Diana Souhami's No Modernism Without Lesbians is a work of impeccable scholarship and a vibrant narrative about the essential and lasting philanthropy and patronage of the Arts by four remarkable lesbians.

Their music somehow sounds like salvation. Gordi's Our Two Skins chronicles difficulties and revelations against a backdrop of electronic-inspired folk.

Nirvana and company may have killed off '80s rock. But if pop was dead, its "king" Michael Jackson had successfully created alternatives.

In Rishi Reddi's Passage West , set amidst the lives of early South Asian immigrants to California, the state of being 'in-between' is constantly moulded by the longing to belong simultaneously to two worlds.

All rights reserved. By , the box office draw of torture porn films had mostly been replaced in the U. Although not as financially successful as Saw or Hostel , [39] A Serbian Film and The Human Centipede II Full Sequence gained attention in the press for their graphic depictions of forced fecal consumption and necrophilia , [40] [41] and both films were censored in order to attain release in the U.

Subsequently, torture porn has increasingly become a DVD-oriented subgenre. The film received less negative attention in the press as a result of its lower-profile release.

As fewer and fewer high-profile cinematic torture porn films are being released, however, the subgenre is slowly dying out, as many journalists have proposed.

Some scholars have published analyses of torture porn films. For example, a book chronicling the torture porn phenomenon and the surrounding controversy — Steve Jones' Torture Porn: Popular Horror after Saw [8] — was published in From Wikipedia, the free encyclopedia.

For the film titled Splatter, see Splatter film. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources.

Unsourced material may be challenged and removed. Martin's Press. Archived from the original on 11 July Retrieved 9 July The Postmodern Splatter Film".

Journal of Popular Film and Television. Philly Burbs. Universe Publishing. Nightmare Movies. London: Bloomsbury Publishing. Interview with Sage Stallone; Bob Murawski.

Torture Porn: Popular Horror after Saw. Basingstoke: Palgrave-Macmillan. New York Magazine. Retrieved on June 11, It's Porn!

What's Not to Like? Plenty, Actually". Advertising Age. Archived at the Wayback Machine ". The Guardian.

Associated Press. June 8, Retrieved on June 14, National Post. New York Post. Retrieved on June 4, Ain't It Cool News.

Los Angeles Times. Retrieved on July 14, The New York Times. Retrieved on February 15, Evening Herald. Retrieved on September 12, Rue Slant Magazine.

Retrieved on April 21, The Roanoke Times. Retrieved on February 18, The Daily Telegraph.

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