document_title: She's Gotta Have It

question_text: where was she's gotta have it filmed

question_tokens: where was she 's got ta have it filmed

text: She's Gotta Have It

text: Plot[edit]

text: Nola Darling is a young, attractive Brooklynite who juggles three suitors: the polite and well-meaning Jamie Overstreet; the self-obsessed model Greer Childs; and the immature, motor-mouthed Mars Blackmon. Nola is attracted to the best in each of them, but refuses to commit to any of them, cherishing her personal freedom instead, while each man wants her for himself.

text: Her carefree, sexually liberated lifestyle ultimately comes to an end when her three male suitors meet and compare notes on Nola. While Greer justifies Nola's callous behavior by claiming that she sees the three not as individuals but as a collective, Jamie and Mars become bitter over how little Nola cares for all three men.

text: Realizing that Mars and Greer are too scared of losing Nola to force her to choose one of them, Jamie tells her that she must choose a single lover. Nola scoffs at this, and visits him several days later at his apartment for casual sex. Jamie rapes Nola, while mockingly asking her if he's as good sexually as Greer or Mars. Nola has an epiphany: realizing that her choices have turned Jamie against her, she decides to call his bluff. Nola dumps Greer and Mars and tells Jamie that she is ready for a monogamous relationship. Believing that her sexual activity has prevented her from committing to a single guy, Nola tells Jamie their relationship has to be celibate for the time being. After at first rejecting Nola's "no sex" decree, Jamie agrees to it.

text: Nola and Jamie's reunion, however, is followed by a coda which dismantles the "happy ending" of the couple coming together. In a monologue delivered to the camera, Nola reveals that her vow of celibacy and her decision to be with Jamie exclusively was "a moment of weakness". She says that she soon began to cheat on Jamie and their relationship collapsed. Nola proudly proclaims that monogamy is a form of slavery and that her lifestyle is freedom in its purest form. The film closes with a view of Nola going to bed alone.

text: Themes[edit]

text: Nola idealizes the freedom to have multiple sex partners that men have typically enjoyed. “A woman (or, at least Nola) can be a sexual being, doesn’t have to belong to a man, and perhaps shouldn’t even wish for such a thing.”[3] Nola’s voice has been described as the most revolutionary element in the film, a representation of the struggle African American women faced in society at the time.[4]

text: Cast[edit]

text:
Tracy Camilla Johns as Nola Darling
Tommy Redmond Hicks as Jamie Overstreet
John Canada Terrell as Greer Childs
Spike Lee as Mars Blackmon
Raye Dowell as Opal Gilstrap
Joie Lee as Clorinda Bradford
Dennis Karika as The Trainer
S. Epatha Merkerson as Dr. Jamison
Bill Lee as Sonny Darling
Erik Dellums as Dog 3
Reginald Hudlin as Dog 4
Ernest Dickerson as Dog 8
Fab Five Freddy as Dog 10
Scott Sillers as Dog 11
Geoffrey L. Garfield as Dog 12

text: Background[edit]

text: She's Gotta Have It was Lee's first feature-length motion picture as a writer/director and is a landmark independent film of American cinema. He was initially inspired by viewing Akira Kurosawa's Rashomon in film school.[5]

text: The New York Times wrote that the film

text: "ushered in (along with Jim Jarmusch's Stranger Than Paradise) the American independent film movement of the 1980s. It was also a groundbreaking film for African-American filmmakers and a welcome change in the representation of blacks in American cinema, depicting men and women of color not as pimps and whores, but as intelligent, upscale urbanites."[6]

text: Filming[edit]

text: Filming was completed in twelve days during the summer of 1985 on a budget of $175,000.

text: The film catalyzed the Fort Greene, Brooklyn neighborhood where it was shot. Lee portrayed the neighborhood as a vibrant cosmopolitan community where successful African Americans thrived, focusing not only on Nola and her struggles, but also on local children, residents, and graffiti. Fort Greene Park was the setting of much of the movie, and is portrayed as a comfortable place for the characters. People were encouraged to investigate the area's public spaces and viewers in other places investigated similar thriving public spaces of community importance.[4]

text: Following the film's release, media attention was drawn to Brooklyn, and to its artists and musicians.[7]

text: Release[edit]

text: Box office[edit]

text: She's Gotta Have It opened in one theater on August 8, 1986, and earned $28,473 on its opening weekend.[8] The film ultimately grossed $7,137,503 in the United States.[1]

text: Critical reception[edit]

text: This section needs expansion. You can help by adding to it. (August 2017)

text: The film was very well received by critics and audiences. Review aggregator website Rotten Tomatoes reports a 93% score based on 28 reviews, with an average rating of 7/10.[9] It holds a 79/100 average on Metacritic.[10]

text: Awards and nominations[edit]

text: "Award of the Youth" Foreign Film — Spike Lee (won)

text: "New Generation Award" — Spike Lee (won)

text:
Best First Feature — Spike Lee (won)
Best Female Lead — Tracy Camilla Johns (nominated)

text: In 2014, Lee said that his one regret as a filmmaker was the rape scene in She's Gotta Have It:

text: "If I was able to have any do-overs, that would be it. It was just totally ... stupid. I was immature. It made light of rape, and that’s the one thing I would take back. I was immature and I hate that I did not view rape as the vile act that it is. I can promise you, there will be nothing like that in 'She's Gotta Have It,' the TV show [that will air on Netflix], that's for sure."[11]

text: Home media[edit]

text: She's Gotta Have It was first released on VHS; on January 15, 2008, it was released on DVD in North America by 20th Century Fox Home Entertainment through United Artists and Metro-Goldwyn-Mayer. Despite its availability on DVD in the United Kingdom, the DVD release for Region 1 took longer than expected.[citation needed]

text: In the mid-1990s, The Criterion Collection released the film on laserdisc. According to Lee's agent, the film was to be eventually released on DVD. Jonathan Turell of The Criterion Collection ended that rumor, saying "No for She's Gotta Have It. We don't have DVD rights."[12] This laserdisc is the only release of the film that has the NC-17-rated director's cut, including sexual content that was cut to obtain an R rating. This release also contains an exclusive commentary by Spike Lee.

text: In 2010, the film was digitized in High Definition (1080i) and broadcast on MGM HD.

text: TV series[edit]

text: On September 15, 2016, Netflix announced a deal to produce a series based on the film, with Lee returning to direct the first season and serve as executive producer.[13] Ten 30-minute episodes were ordered. Netflix released the series in November 2017.


document_title: Flight (Grey's Anatomy)

question_text: who all dies in grey's anatomy plane crash

question_tokens: who all dies in grey 's anatomy plane crash

root

text: Flight (Grey's Anatomy)

text: Plot[edit]

text: After their plane crashes in the woods, Dr. Meredith Grey (Ellen Pompeo), Dr. Lexie Grey (Chyler Leigh), Dr. Cristina Yang (Sandra Oh), Dr. Arizona Robbins (Jessica Capshaw), Dr. Derek Shepherd (Patrick Dempsey), and Dr. Mark Sloan (Eric Dane) desperately fight to stay alive. Meredith is relatively unscathed, while the rest have serious injuries: the pilot, Jerry (James LeGros), has a major spine injury, and Yang dislocates her arm. Robbins' femur is broken and sticking through the skin, Sloan has serious internal injuries; though initially adrenaline keeps him on his feet. Shepherd is sucked out the side of the plane and awakens alone in the wood; his mangled hand having been pushed through the door of the plane. However, none are in as bad shape as Lexie, who is crushed under a piece of the plane. While Meredith searches for Shepherd, Yang and Sloan try to move the debris off Lexie. Eventually, the two realize that they cannot save her, so Sloan holds her hand while she dies, telling her that he loves her. As Sloan tells her of the life the two were meant to have together, Lexie dies with a smile on her face just as Meredith and Yang are approaching.

tag: p

text: Lexie's death devastates Meredith, who is still desperately trying to find her husband. Eventually, she and Shepherd reunite and they fix his hand as best as they can. Meanwhile, back at Seattle Grace Mercy West Hospital, no one is aware of what has happened to the other doctors. Dr. Richard Webber (James Pickens, Jr.) prepares the annual dinner for the departing residents, which Dr. Alex Karev (Justin Chambers), Dr. Jackson Avery (Jesse Williams), and Dr. April Kepner (Sarah Drew) are dreading. Avery makes the choice to take a job offer at Tulane Medical Center, and he and Kepner share a moment. Dr. Ben Warren (Jason George) and Dr. Miranda Bailey (Chandra Wilson) decide to get married, even though Warren is going to start his surgical internship in Los Angeles. After realizing Dr. Teddy Altman (Kim Raver) was offered a chief position at United States Army Medical Command (MEDCOM) and is refusing to leave Seattle out of loyalty, Dr. Owen Hunt (Kevin McKidd), the chief of surgery, fires her to free her from the hospital where her husband died. As the episode ends, Hunt picks up his messages to discover the surgical team never made it to Boise. The residents, finally excited to celebrate at Webber's dinner, are left waiting for their stranded friends. The remaining crash survivors are left struggling to stay awake as their last match goes out. In the closing monologue, Meredith repeats the opening to the speech that Webber gave in the pilot episode of the series.

text: Production[edit]

text:
"It was so hard. It was physically and emotionally challenging because you're constantly at extremely high stakes. The physicality for Cristina, she had to do a lot of things with one arm, and I had to do a lot of things with one shoe. You're running around the mountain with one shoe and one arm basically and doing things that way. And it's like we've had this cushy time on stages and in the hospital. But being out in the open on the side of a mountain was exhilarating; you cannot beat location work. I've done very little greenscreen work, but it's just a pooper. I don't care how much you blow that fan on my face, there's not a helicopter coming at me. It's really hard to manufacture the clear reality of what that is, but when you are on a mountain and you are freezing, you're freezing."

— Oh's impressions on shooting in the mountains[1]

tag: div

text: The episode was written by Shonda Rhimes, and directed by Rob Corn.[2] Featured music included The Paper Kites' "Featherstone" and Feist's 'Graveyard".[3] Filming took place in Big Bear Lake, California, a location previously used in the seventh season for Yang and Shepherd's fishing trip.[4] Commenting on the filming conditions, Leigh said: "It would rain and be sunny and hot. I never died before [on camera]. That sounds funny saying that. I think everyone has an emotional wellspring and that happened to be a moment where I was sprung. Everybody was very accommodating — the crew, cast. And I opted to stay underneath [the wreckage] for the most part over two days rather than trying to get in and out."[5]

text: In regard to the episode, Rhimes commented before it originally aired that it was difficult to write, largely because of the death of a main character. She compared it to writing the season six finale, by explaining that the former was "more painful" to write.[6] After the episode aired, Rhimes repeated in a tweet that it was hard for her to write the finale, adding: "I did not enjoy it. It made me sick and it made me sad."[7] Rhimes also explained the departure of Leigh, whose character died after the plane crash, by saying that the two came to an agreement on the decision to kill Lexie, after extensive discussion. Speaking of Raver's departure whose character left Seattle Grace for MEDCOM, Rhimes elaborated that Raver was offered a contract renewal, but declined.[7]

text: Reception[edit]

text: The episode received mixed reviews among television critics, and it outperformed the previous episode in terms of both viewership and ratings. "Flight" was originally broadcast on May 17, 2012 in the United States on the American Broadcasting Company (ABC). The episode was watched in the United States by a total of 11.44 million people,[8] a 16.5% (1.62 million) increase from the previous episode "Migration", which garnered 9.82 million viewers.[9] In terms of viewership, "Flight" ranked fourth for the night, behind the season finales of Fox's American Idol, and CBS's Person of Interest and The Mentalist.[8] In terms of Grey's Anatomy's other season finales, the episode was the show's second least-viewed finale, just behind the seventh season's, which garnered 9.89 million viewers.[10] The episode did not rank in the top three for viewership, but its 4.1/11 Nielsen rating ranked first in its 9:00 Eastern time-slot and second for the night, registering the show as Thursday's No. 1 drama, for both the rating and share percentages of the key 18–49 demographic. Its rating lost to American Idol, but beat out CBS's The Big Bang Theory, Person of Interest, and The Mentalist.[8] In addition to its rating being in the top rankings for the night, it was an increase from the previous episode, which netted a 3.5/10 rating/share in the 18–49 demographic.[9] The episode also showed an increase in ratings in comparison to the previous year's finale, which attained a 3.6/9 rating/share in the 18–49 demographic.[10]

text: Poptimal's Tanya Lane wrote, "Wow…just wow. Grey's Anatomy has once again managed to shock with its season finale." While she appreciated the "realism and authenticity that Grey's is known for", she found the episode was "almost too much" as it was "extremely gory and difficult to watch, initially because of the grisly wounds" but later because of the "heavy and emotional things that transpired". She thought Pompeo gave one of her best performances when her character learned that her sister was dead.[11] Digital Spy's Ben Lee found Leigh's and Dane's performances "phenomenal" and added that he had probably never seen a better performance from Dane. He described the moment the two actors shared as "truly poignant". To him, Lexie's death felt like a finale, which was thus too early. As for what was happening in Seattle Grace, he thought it was "a bit pointless" and "uninteresting" except Altman's departure, which he deemed "the most significant moment at the hospital".[12] Entertainment Weekly's Tanner Stransky commented of Lexie's death: "It was an intense death. I mean, how awful was it to watch one of Grey’s longest-running characters pass away so quickly -- and rather unceremoniously? I get that Ms. Rhimes had to do what she had to do -- and every show needs to be shaken up once in a while -- but I don't love that Lexie was the one to die. Could it have been someone less important somehow? I guess it would have been too obvious to do Kepner. And you probably just don't kill off a hottie like Mark Sloan, right?" Stransky also complained about Robbins' screams at the beginning of the episode, but enjoyed Bailey's story.[13]

text: In an Entertainment Weekly poll that judged all the television season finales of the year, Lexie's death was voted the "Top Tissue Moment",[14] while Robbins' injured leg and Shepherd's mangled hand were voted the "Most Disturbing Image".[15] The ending of the episode was also considered as the "Best Ending to an Otherwise So-So Season".[16] Lexie's death was also nominated under the "Best (Presumed) Death" category,[17] while the plane crash's aftermath was nominated as the "Best Non-romantic Cliffhanger",[18] and the episode in entirety was nominated for the special award for "Biggest Regret That I Didn't See It, I Just Heard or Read About It".[19] Entertainment Weekly later named the scene where Meredith is crying one of the best crying scenes of 2012.[20] In TVLine's review of 2012, Lexie's death was runner-up for "Biggest Tearjerker".[21] The episode is nominated at the NAACP Image Awards under the Outstanding Writing in a Dramatic Series category for Rhimes.[22]


document_title: Once Upon a Time in Mexico

question_text: where was the movie once upon a time in mexico filmed

text: Once Upon a Time in Mexico

text: Plot[edit]

text: El Mariachi is recruited by CIA agent Sheldon Sands to kill General Emiliano Marquez, a corrupt Mexican Army officer who has been hired by Mexican drug lord Armando Barillo to assassinate the President of Mexico and overthrow the government. Many years before, El Mariachi and his wife Carolina confronted Marquez in a shootout and wounded the general; in retaliation, Marquez took the lives of Carolina and their daughter in an ambush. In addition to El Mariachi, Sands persuades former FBI agent Jorge Ramírez to come out of retirement and kill Barillo, who had murdered his partner Archuleta in the past. Furthermore, AFN operative Ajedrez is assigned by Sands to tail Barillo.

text: While monitoring Barillo's activities, Ramírez meets Billy Chambers, an American fugitive who has been living under the protection of Barillo, but can no longer stomach the horrible tasks he's been forced to carry out for him. Ramírez convinces Chambers he will provide him protection in exchange for getting closer to Barillo by tagging Chambers' pet chihuahua with a hidden microphone, and Chambers agrees to complete the deal by surrendering to U.S. authorities once Barillo has been taken down. Sands' assistant, Cucuy, originally hired by to keep an eye on El Mariachi, instead tranquilizes El Mariachi and turns him over to Barillo, also offering to reveal the details of Sands's plan. Cucuy, however, is promptly killed by Chambers while El Mariachi escapes from captivity and calls his friends Lorenzo and Fideo to assist him in his mission.

text: While monitoring Barillo's activity outside a hospital, Ramírez notices armed men storming the building and follows suit. He discovers that a group of doctors have been gunned down and Barillo has bled to death as a result of a botched facial reconstruction, but realizes that the corpse on the operating table is a body double before he is knocked out and kidnapped by the real Barillo and Ajedrez, who reveals herself to be Barillo's daughter. Sands realizes his mission has been compromised, but is too late, as he is captured by Barillo and Ajedrez — who drill out his eyes before sending him out. Despite his blindness, he manages to gun down a hitman tailing him with the aid of a chiclet boy.

text: As the village celebrates the Day of the Dead during the President's visit, Marquez and his army storm in and attack the presidential palace. Marquez's troops, however, are met with resistance from not only the President's bodyguards, but the villagers and the Mariachis. Sands had instructed El Mariachi to allow the President to be killed before attacking Marquez, but the Mariachis, agreeing that the President is a good man, intervene early and protect him. Marquez enters the presidential palace, only to once again confront El Mariachi, who shoots out his kneecaps before finishing him off with a headshot. Ramírez, who was released from captivity by Chambers, faces Barillo. After Barillo guns down Chambers, Ramírez and El Mariachi kill the drug lord. Sands manages to shoot the sadistic Ajedrez dead outside the presidential palace. Ultimately, Lorenzo and Fideo walk away with the cash that Barillo was using to pay Marquez, and escort the president to safety. Ramírez says goodbye to Sands and walks away, having avenged his partner's death. El Mariachi then gives his share of the cash to his village before walking into the sunset.

text: Cast[edit]

text:
Antonio Banderas as El Mariachi
Salma Hayek as Carolina
Johnny Depp as Sheldon Jeffrey Sands
Mickey Rourke as Billy Chambers
Eva Mendes as Ajedrez Barillo
Danny Trejo as Cucuy
Enrique Iglesias as Lorenzo
Marco Leonardi as Fideo
Cheech Marin as Belini
Rubén Blades as Jorge Ramírez
Willem Dafoe as Armando Barillo
Pedro Armendáriz, Jr. as President
Tony Valdes as Chicle Boy
Gerardo Vigil as General Marquez
Miguel Couturier as Dr. Guevera
Julio Oscar Mechoso as Nicholas

tag: ul

text: In a 2003 issue of Rolling Stone, Depp was named as one of its "People of the Year", and gave an interview in which he briefly discussed his role as Sands:

text: "The idea behind him is there was this guy I used to know in Hollywood, in the business, who on the outside was very charming – soft-spoken and almost hypnotic in the rhythm he used to speak. He refused to call me Johnny – always called me John. You knew this guy was aiming to fuck you over, but somehow you stuck around because he was just so fascinating to watch."[3]

text: Depp also said in an Entertainment Weekly article that he "imagine[d] this guy wore really cheesy tourist shirts", that he had a "sideline obsession with Broadway", and that he favored strange, obvious disguises – all three qualities can be observed in the film. It was also revealed in the director's commentary on the DVD that Depp himself came up with the character's first and middle names.[4]

text: Production[edit]

text: Made on a US$29 million budget,[2] the film was shot in May 2001 before Spy Kids 2: The Island of Lost Dreams (2002) and Spy Kids 3-D: Game Over (2003) in order to avoid a potential Screen Actors Guild strike. Shooting took place over seven weeks in San Miguel de Allende and Guanajuato, Mexico. It was the first big budget film to be shot in high definition digital video.[5] Rodriguez chose to shoot on digital after George Lucas, who was shooting Star Wars: Episode II – Attack of the Clones, showed him early footage shot digitally. Impressed, Rodriguez chose to shoot digitally, but he knew he did not have enough time to shoot Spy Kids 2. Instead, he pitched a sequel to Desperado to Miramax and wrote a script in six days. The initial draft was 65 pages long, which he padded with a subplot borrowed from an unproduced short film. When Miramax expressed hesitation over the added subplot, he readily removed it. His primary influence was Sergio Leone's Dollars Trilogy, specifically The Good, The Bad, and The Ugly. Rodriguez said shooting digitally saved time and money, simplified the filming process, and rendered 35 mm film obsolete for him.[6]

text: Soundtrack[edit]

text:
Original Motion Picture Soundtrack: Once Upon a Time in Mexico

Soundtrack album by various artists

Released
September 2003

Genre
Soundtrack
Rock
Latin rock

Length
51:44

Label
Milan Records

Robert Rodriguez film soundtrack chronology

Spy Kids 3-D: Game Over
(2003)Spy Kids 3-D: Game Over2003
Once Upon a Time in Mexico
(2003)
Sin City
(2005)Sin City2005

tag: table

text:
Professional ratings

Review scores

Source
Rating

Allmusic
 link

text: The film's score includes songs composed by director Robert Rodriguez and performed by a group of musicians gathered specifically for the soundtrack recording. Tracks performed by the group includes "Malagueña" with guitar by Brian Setzer and "Siente Mi Amor", with singing by Salma Hayek. Track 9, "Sands' Theme", credited to "Tonto's Giant Nuts", was written by Johnny Depp. Additional music includes Juno Reactor's "Pistolero", "Me Gustas Tú" by Manu Chao, and "Cuka Rocka" by Rodriguez' own rock band, Chingon.[7] On the DVD director commentary, Robert Rodriguez states that he requested that each of the main actors give him four or eight notes of a melody for their character, but Depp presented him with the entire track.

text:
"Malagueña" (Brian Setzer) – 4:22
"Traeme Paz" (Patricia Vonne) – 2:56
"Eye Patch" (Alex Ruiz) – 1:51
"Yo Te Quiero" (Marcos Loya) – 3:48
"Guitar Town" (Robert Rodriguez) – 2:04
"Church Shootout" (Robert Rodriguez) – 1:38
"Pistolero" (Juno Reactor) – 3:38
"Me Gustas Tú" (Manu Chao) – 3:49
"Sands (Theme)" (Tonto's Giant Nuts) – 3:24
"Dias de Los Angeles" (Rick Del Castillo) – 5:08
"The Man with No Eyes" (Robert Rodriguez) – 2:09
"Mariachi vs. Marquez" (Robert Rodriguez) – 1:33
"Flor del Mal" (Tito Larriva & Steven Hufsteter) – 3:13
"Chicle Boy" (Robert Rodriguez) – 1:30
"Coup de Etat" (Robert Rodriguez) – 3:02
"El Mariachi" (Robert Rodriguez) – 1:22
"Siente Mi Amor" (Salma Hayek) – 4:24
"Cuka Rocka" (Chingon) – 1:44

tag: ol

text: Television adaptation[edit]

text: Sony's AXN channel confirmed that it will be airing a TV series adaptation of El Mariachi franchise. The series was to have premiered on March 20, 2014.[8]

text: Release[edit]

text: Once Upon a Time in Mexico was released on September 12, 2003 in 3,282 theaters with an opening weekend gross of USD $23.4 million. It went on to make $56.4 million in North America and $41.8 in the rest of the world for a combined total of $98.2 million on a $29 million budget.[2]

text: Reception[edit]

text: Rotten Tomatoes reports that 68% of 163 surveyed critics gave the film a positive review; the average rating is 6.3/10. The site's consensus reads: "Violent, pulpy, loopy fun, with Depp stealing the show."[9] Metacritic rated it 56/100 based on 34 reviews.[10]

text: Chicago Sun-Times film critic Roger Ebert gave the film three out of four stars and wrote, "Like Leone's movie, the Rodriguez epic is more interested in the moment, in great shots, in surprises and ironic reversals and closeups of sweaty faces, than in a coherent story."[11] A. O. Scott wrote in his review for The New York Times, "But in the end, the punched-up editing and vibrant color schemes start to grow tiresome, and Mr. Rodriguez, bored with his own gimmickry and completely out of ideas, responds by pushing the violence to needlessly grotesque extremes."[12]

text: In her review for USA Today, Claudia Puig wrote, "In Mexico, Rodriguez has fashioned a swaggering fantasy that pays homage to spaghetti Westerns such as Sergio Leone's The Good, the Bad and the Ugly. Plenty of blood is shed, lots of powerful artillery is fired, and action sequences provide astounding car crashes and fiery explosions."[13] Entertainment Weekly gave the film a "B" rating and praised Depp's performance with its "winking grace notes of Brandoesque flakery ... is as minimal and laid-back as his Pirates of the Caribbean turn was deep-dish theatrical".[14]


document_title: Horror film

question_text: when did the first horror movie come out

text: Horror film

text: History[edit]

text: The first depictions of supernatural events appear in several of the silent shorts created by the film pioneer Georges Méliès in the late 1890s, the best known being Le Manoir du Diable, which is sometimes credited as being the first horror film.[2] Another of his horror projects was La Caverne maudite (1898) (a.k.a. The Cave of the Demons, literally "the accursed cave").[2] Japan made early forays into the horror genre with Bake Jizo (Jizo the Spook) and Shinin no Sosei (Resurrection of a Corpse), both made in 1898.[3] The era featured a slew of literary adaptations, adapting the works of Poe and Dante, among others. In 1908, Selig Polyscope Company produced Dr. Jekyll and Mr. Hyde.

text: United States[edit]

text: In 1910, Edison Studios produced the first filmed version of Frankenstein.[4] The macabre nature of the source materials used made the films synonymous with the horror film genre.[5]

text: Though the word "horror" to describe the film genre would not be used until the 1930s (when Universal Pictures released their initial monster films), earlier American productions often relied on horror themes. Some notable examples include The Hunchback of Notre Dame (1923), The Phantom of the Opera (1925), The Cat and the Canary (1927), The Unknown (1927), and The Man Who Laughs (1928). Many of these early films were considered dark melodramas because of their stock characters and emotion-heavy plots that focused on romance, violence, suspense, and sentimentality.[6]

text: The trend of inserting an element of macabre into American pre-horror melodramas continued into the 1920s. Directors known for relying on macabre in their films during the 1920s were Maurice Tourneur, Rex Ingram, and Tod Browning. Ingram's The Magician (1926) contains one of the first examples of a "mad doctor" and is said to have had a large influence on James Whale's version of Frankenstein.[7] The Unholy Three (1925) is an example of Browning's use of macabre and unique style of morbidity; he remade the film in 1930 as a talkie, though The Terror (1928) was the first horror film with sound.

text: Germany[edit]

text: Before and during the Weimar Republic era, German Expressionist filmmakers would significantly influence later productions. Paul Wegener's The Student of Prague (1913) and The Golem trilogy (1915–20), as well as Robert Wiene's The Cabinet of Dr. Caligari (1920), Arthur Robison's Warning Shadows (1923), and Paul Leni's Waxworks (1924), were influential films at the time. The first vampire-themed movie, Nosferatu (1922), was made during this period; it was an unauthorized adaptation of Bram Stoker's Dracula.

text: Sweden, Denmark and France[edit]

text: Other European countries also, contributed to the genre during this period. Victor Sjöström's The Phantom Carriage (Sweden, 1920) is a cautionary tale about a supernatural legend, Benjamin Christensen's Häxan (Denmark/Sweden, 1922) is a documentary-style, horror film, about witchcraft and superstition, and in 1928, Frenchman, Jean Epstein produced an influential film, The Fall of the House of Usher, based on the Poe tale.

text: During the early period of talking pictures, Universal Pictures began a successful Gothic horror film series. Tod Browning's Dracula (1931) was quickly followed by James Whale's Frankenstein (1931) and The Old Dark House (1932), both featuring monstrous mute antagonists. Some of these films blended science fiction with Gothic horror, such as Whale's The Invisible Man (1933) and featured a mad scientist, mirroring earlier German films. Frankenstein was the first in a series of remakes which lasted for years. The Mummy (1932) introduced Egyptology as a theme; Make-up artist Jack Pierce was responsible for the iconic image of the monster, and others in the series. Universal's horror cycle continued into the 1940s with B movies including The Wolf Man (1941), as well as a number of films uniting several of the most common monsters.[8]

text: Other studios followed Universal's lead. The once controversial Freaks (1932), based on the short story "Spurs", was made by MGM, though the studio disowned the completed film, and it remained banned, in the United Kingdom, for thirty years.[9] Dr. Jekyll and Mr. Hyde (Paramount, 1931) is remembered for its innovative use of photographic filters to create Jekyll's transformation before the camera.[10] With the progression of the genre, actors like Boris Karloff and Bela Lugosi were beginning to build entire careers in horror. Both appeared in three of Val Lewton's atmospheric B movies for RKO in the mid-1940s, including The Body Snatcher (1945).

text: With advances in technology, the tone of horror films shifted from the Gothic towards contemporary concerns. Two subgenres began to emerge: the Doomsday film and the Demonic film.[13] Low-budget productions featured humanity overcoming threats such as alien invasions and deadly mutations to people, plants and insects. Japan's experience with Hiroshima and Nagasaki bore the well-known Godzilla (1954) and its sequels, featuring mutation from the effects of nuclear radiation.

text: Hollywood directors and producers found ample opportunity for audience exploitation through gimmicks. House of Wax (1953) used the advent of 3-D film to draw audiences, while The Tingler used electric seat buzzers in 1959. Filmmakers continued to merge elements of science fiction and horror over the following decades. Considered a "pulp masterpiece"[14] of the era was The Incredible Shrinking Man (1957), based on Richard Matheson's existentialist novel. The film conveyed the fears of living in the Atomic Age and the terror of social alienation.

text: During the later 1950s, the United Kingdom emerged as a major producer of horror films.[15] The Hammer company focused on the genre for the first time, enjoying huge international success from films involving classic horror characters which were shown in color for the first time.[16] Drawing on Universal's precedent, many films produced were Frankenstein and Dracula remakes, followed by many sequels. Christopher Lee starred in a number of Hammer Horror films, including The Curse of Frankenstein (1957), which Professor Patricia MacCormac called the "first really gory horror film, showing blood and guts in colour".[17] Other British companies contributed to a boom in horror film production in the United Kingdom during the 1960s and 1970s.

text: Released in May 1960, the British psychological thriller Peeping Tom (1960) by Michael Powell is a progenitor of the contemporary "slasher film".[18] Alfred Hitchcock cemented the subgenre with Psycho released later that year. France continued the mad scientist theme, while Italian horror films became internationally notable. American International Pictures (AIP) made a series of Edgar Allan Poe–themed films.

text: Films in the era used the supernatural premise to express the horror of the demonic. The Innocents (1961) based on the Henry James novel The Turn of the Screw. Meanwhile, ghosts were a dominant theme in Japanese horror, in such films as Kwaidan, Onibaba (both 1964) and Kuroneko (1968).

text: Rosemary's Baby (1968) is an American psychological horror film written and directed by Roman Polanski, based on the bestselling 1967 novel of the same name by Ira Levin. Another influential American horror film of this period was George A. Romero's Night of the Living Dead (1968). Produced and directed by Romero on a budget of $114,000, it grossed $30 million internationally. An Armageddon film about zombies, it began to combine psychological insights with gore. Distancing the era from earlier gothic trends, late 1960s films brought horror into everyday life. Low-budget splatter films from the likes of Herschell Gordon Lewis also gained prominence.[19]

text: The financial successes of the low-budget gore films of the ensuing years, and the critical and popular success of Rosemary's Baby, led to the release of more films with occult themes during the 1970s. The Exorcist (1973), the first of these movies, was a significant commercial success and was followed by scores of horror films in which a demon entity is represented as the supernatural evil, often by impregnating women or possessing children.

text: "Evil children" and reincarnation became popular subjects. Robert Wise's film Audrey Rose (1977) for example, deals with a man who claims that his daughter is the reincarnation of another dead person. Alice, Sweet Alice (1977), is another Catholic-themed horror slasher about a little girl's murder and her sister being the prime suspect. Another popular occult horror movie was The Omen (1976), where a man realizes that his five-year-old adopted son is the Antichrist. Invincible to human intervention, Demons became villains in many horror films with a postmodern style and a dystopian worldview. Another example is The Sentinel (1977), in which a fashion model discovers that her new brownstone residence may actually be a portal to Hell.

text: During the 1970s, Italian filmmakers Mario Bava, Riccardo Freda, Antonio Margheriti and Dario Argento developed giallo horror films that became classics and influenced the genre in other countries. Representative films include: Twitch of the Death Nerve, The Bird with the Crystal Plumage, Deep Red and Suspiria.

text: Don't Look Now (1973), a independent British-Italian film directed by Nicolas Roeg, was also notable. Its focus on the psychology of grief was unusually strong for a film featuring a supernatural horror plot. Another notable film is The Wicker Man (1973), a British mystery horror film dealing with the practice of ancient pagan rituals in the modern era. It was written by Anthony Shaffer and directed by Robin Hardy.

text: The ideas of the 1960s began to influence horror films, as the youth involved in the counterculture began exploring the medium. Wes Craven's The Hills Have Eyes (1977) and The Last House on the Left (1972) along with Tobe Hooper's The Texas Chain Saw Massacre (1974)[20] (based on the Ed Gein case) recalled the Vietnam War; while George A. Romero satirized the consumer society in his zombie sequel, Dawn of the Dead (1978). Meanwhile, the subgenre of comedy horror re-emerged in the cinema with The Abominable Dr. Phibes (1971), Young Frankenstein (1974), The Rocky Horror Picture Show (1975), and An American Werewolf in London (1981) among others.

text: Also in the 1970s, the works of the horror author Stephen King began to be adapted for the screen, beginning with Brian De Palma's adaptation of Carrie (1976), King's first published novel, for which the two female leads (Sissy Spacek and Piper Laurie) gained Oscar nominations. Next, was his third published novel, The Shining (1980), directed by Stanley Kubrick, which was a sleeper at the box office. At first, many critics and viewers had negative feedback toward The Shining. However, the film is now known as one of Hollywood's most classic horror films.

text: This psychological horror film has a variety of themes; "evil children", alcoholism, telepathy and insanity. This type of film is an example of how Hollywood's idea of horror started to evolve. Murder and violence were no longer the main themes of horror films. During the 1970s and 1980s, psychological and supernatural horror started to take over cinema. Another classic Hollywood horror film is Tobe Hooper's Poltergeist (1982). Poltergeist is ranked the 20th scariest movie ever made by the Chicago Film Critics Association. Both The Shining and Poltergeist involve horror being based on real-estate values. The evil and horror throughout the films come from where the movies are taking place.[21][22]

text: The Amityville Horror is a 1979 supernatural horror film directed by Stuart Rosenberg, based on Jay Anson's 1977 book of the same name. It stars James Brolin and Margot Kidder as a young couple who purchase a home they come to find haunted by combative supernatural forces. The Changeling is a 1980 Canadian psychological horror film directed by Peter Medak.

text: A cycle of slasher films was made during the 1970s and 1980s. John Carpenter created Halloween (1978), Sean S. Cunningham made Friday the 13th (1980), Wes Craven directed A Nightmare on Elm Street (1984), and Clive Barker made Hellraiser (1987). This subgenre would be mined by dozens of increasingly violent movies throughout the subsequent decades, and Halloween became a successful independent film. Another notable 1970s slasher film is Bob Clark's Black Christmas (1974). Sleepaway Camp (1983) is known for its twist ending, which is considered by some to be one of the most shocking endings among horror films. My Bloody Valentine (1981) is a slasher film dealing with Valentine's Day fiction. The boom in slasher films provided enough material for numerous comedic spoofs of the genre including Saturday the 14th (1981), Student Bodies (1981), National Lampoon's Class Reunion (1983), and Hysterical (1983).

text: Some films explored urban legends such as "The babysitter and the man upstairs". A notable example is When a Stranger Calls (1979), an American psychological horror film directed by Fred Walton starring Carol Kane and Charles Durning.

text: Steven Spielberg's Jaws (1975) began a new wave of killer animal stories, such as Orca (1977) and Up from the Depths (1979). Jaws is often credited as being one of the first films to use traditionally B movie elements such as horror and mild gore in a big-budget Hollywood film. In 1979, Don Coscarelli's Phantasm was the first of the Phantasm franchise.

text: Alien (1979), a British-American science-fiction horror film directed by Ridley Scott was very successful, receiving both critical acclaim and being a box office success. John Carpenter's movie The Thing (1982) was also a mix of horror and sci-fi, but it was neither a box-office nor critical hit, but soon became a cult classic. However, nearly 20 years after its release, it was praised for using ahead-of-its-time special effects and paranoia.

text: The 1980s saw a wave of gory "B movie" horror films – although most of them were poorly reviewed by critics, many became cult classics and later saw success with critics. A significant example is Sam Raimi's Evil Dead movies, which were low-budget gorefests but had a very original plotline which was later praised by critics.

text: Vampire horror was also popular in the 1980s, including cult vampire classics such as Fright Night (1985), The Lost Boys (1987), and Near Dark (also 1987). In 1984, Joe Dante's seminal monster comedy Gremlins became a box office hit with critics and audiences, and inspired a trend of "little monster" films such as Critters and Ghoulies.[citation needed]

text: David Cronenberg's films such as Shivers (1975), Rabid (1977), The Brood (1979), The Dead Zone (1983), The Fly (1986) dealt with "body horror" and "mad scientist" themes.[23]

text: Several science fiction action horror movies were released in the 1980s, notably Aliens (1986) and Predator (1987). Notable comedy horror films of the 1980s include Re-Animator (1985) and Night of the Creeps (1986).

text: Day of the Dead is a 1985 horror film written and directed by George A. Romero and the third film in Romero's Night of the Living Dead series.

text: Henry: Portrait of a Serial Killer is a 1986 psychological horror crime film directed and co-written by John McNaughton about the random crime spree of a serial killer who seemingly operates with impunity. Pumpkinhead (1988) is a dark fantasy horror film, which is the directorial debut of special effects artist Stan Winston.

text: Child's Play (1988), Night of the Demons (1988) and Pet Sematary (1989) are notable supernatural horror films of the late 1980s.

text: In the first half of the 1990s, the genre still contained many of the themes from the 1980s. The slasher films A Nightmare on Elm Street, Friday the 13th, Halloween and Child's Play all saw sequels in the 1990s, most of which met with varied amounts of success at the box office, but all were panned by critics, with the exception of Wes Craven's New Nightmare (1994) and the hugely successful Silence of the Lambs (1991). The latter, which stars Jodie Foster and Anthony Hopkins, is considered a major horror movie of all times.[24] Misery (1990) also deals with a psychopath, and the film received critical acclaim for Kathy Bates's performance as the psychopathic Annie Wilkes.

text: New Nightmare, with In the Mouth of Madness (1995), The Dark Half (1993), and Candyman (1992), were part of a mini-movement of self-reflexive or metafictional horror films. Each film touched upon the relationship between fictional horror and real-world horror. Candyman, for example, examined the link between an invented urban legend and the realistic horror of the racism that produced its villain. In the Mouth of Madness took a more literal approach, as its protagonist actually hopped from the real world into a novel created by the madman he was hired to track down. This reflective style became more overt and ironic with the arrival of Scream (1996).

text: In Interview with the Vampire (1994), the "Theatre de Vampires" (and the film itself, to some degree) invoked the Grand Guignol style, perhaps to further remove the undead performers from humanity, morality and class. The horror movie soon continued its search for new and effective frights. In the 1985 novel The Vampire Lestat by the author Anne Rice (who penned Interview...'s screenplay and the 1976 novel of the same name) suggests that its antihero Lestat inspired and nurtured the Grand Guignol style and theatre.

text: Two main problems pushed horror backward during this period: firstly, the horror genre wore itself out with the proliferation of nonstop slasher and gore films in the eighties. Secondly, the adolescent audience which feasted on the blood and morbidity of the previous decade grew up, and the replacement audience for films of an imaginative nature were being captured instead by the explosion of science-fiction and fantasy films, courtesy of the special effects possibilities with advances made in computer-generated imagery.[25] Examples of these CGI include movies like Species (1995), Anaconda (1997), Mimic (1997), Blade (1998), Deep Rising (1998), House on Haunted Hill (1999), Sleepy Hollow (1999), and The Haunting (1999).

text: To re-connect with its audience, horror became more self-mockingly ironic and outright parodic, especially in the latter half of the 1990s. Peter Jackson's Braindead (1992) (known as Dead Alive in the United States) took the splatter film to ridiculous excesses for comic effect. Wes Craven's Scream (written by Kevin Williamson) movies, starting in 1996, featured teenagers who were fully aware of, and often made reference to, the history of horror movies, and mixed ironic humour with the shocks (despite Scream 2 and Scream 3 utilising less use of the humour of the original, until Scream 4 in 2011, and rather more references to horror film conventions). Along with I Know What You Did Last Summer (1997) (also written by Williamson) and Urban Legend (1998), they re-ignited the dormant slasher film genre.

text: Event Horizon (1997) is a British-American science fiction horror film directed by Paul W. S. Anderson. The Sixth Sense (1999) is a supernatural horror film written and directed by M. Night Shyamalan, which tells the story of Cole Sear (Haley Joel Osment), a troubled, isolated boy who is able to see and talk to the dead, and an equally troubled child psychologist named Malcolm Crowe (Bruce Willis) who tries to help him.

text: House on Haunted Hill is a 1999 horror film directed by William Malone which follows a group of strangers who are invited to a party at an abandoned asylum, where they are offered $1 million each by an amusement park mogul if they are able to survive the night. It is a remake of the 1959 film of the same title. Other horror films of the late 1990s include Cube (1997), The Faculty (1998), Disturbing Behavior (1998), Stir of Echoes (1999), Stigmata (1999), Existenz (1999).

text: Monster horror was quite popular in the 1990s. Tremors (1990) is the first installment of the Tremors franchise. Lake Placid (1999) is another monster horror film, written by David E. Kelley and directed by Steve Miner.

text: Another successful horror film is Audition, a 1999 Japanese film based on the novel of the same name, directed by Takashi Miike. Around this period, Japanese horror started becoming popular in English speaking countries.

text: The film The Last Broadcast (1998) served as inspiration for the highly successful The Blair Witch Project (1999), which popularized the found footage horror subgenre. The theme of witchcraft was also addressed in The Witches (1990), starring Anjelica Huston and The Craft (1996), a supernatural horror film directed by Andrew Fleming. Wolf is a 1994 romantic horror film following the transformation of a man (Jack Nicholson) into a werewolf.

text: The decade started, with, among other films, Scary Movie (2000), a comedy horror directed by Keenen Ivory Wayans, which is a parody of the horror, slasher and mystery genres. The film received mixed reviews from critics. By contrast, Valentine (2001) was a conventional horror film. It had some success at the box office, but was derided by critics for being formulaic and relying on foregone horror film conventions. The Others (2001) was hugely successful, winning and being further nominated for many awards. It is a 2001 Spanish-American supernatural gothic horror film with elements of psychological horror. It was written, directed, and scored by Alejandro Amenábar. It stars Nicole Kidman and Fionnula Flanagan.

text: Franchise films such as Jason X (2001) and Freddy vs. Jason (2003) also made a stand in theaters. Final Destination (2000) marked a successful revival of teen-centered horror and spawned five installments. Jeepers Creepers series was also successful. Films such as Hollow Man (2000), Cabin Fever (2002), House of 1000 Corpses (2003) (the latter an exploitation horror film written, co-scored and directed by Rob Zombie in his directorial debut) and the previous mentions helped bring the genre back to Restricted ratings in theaters. Van Helsing (2004) and Underworld series had huge box office success, despite mostly negative reviews by critics. Ginger Snaps (2000) is a Canadian film dealing with the tragic transformation of a teenage girl who is bitten by a werewolf. Signs (2002) revived the science fiction alien theme. The Descent, a 2005 British adventure horror film written and directed by Neil Marshall was also successful. Another notable film is Drag Me to Hell, a 2009 American supernatural horror film co-written and directed by Sam Raimi. The Strangers (2008) deals with unprovoked stranger-on-stranger violence. The House of the Devil (2009) is inspired by the "satanic panic" of the 1980s. Trick 'r Treat is a 2007 anthology horror film written and directed by Michael Dougherty and produced by Bryan Singer. Black Water (2007) is British-Australian natural horror film.

text: Several horror film adaptations from comic books and video games were produced. 30 Days of Night (2007) is based on the comic book miniseries of the same name. The story focuses on an Alaskan town beset by vampires as it enters into a thirty-day long polar night. Comic book adaptations like the Blade series, Constantine (2005), and Hellboy (2004) also became box office successes. The Resident Evil video game franchise was adapted into a film released in March 2002, and several sequels followed. Other video game adaptations like Doom (2005) and Silent Hill (2006) also had moderate box office success.

text: Some pronounced trends have marked horror films. Films from non-English language countries have become successful. The Devil's Backbone (2001) is such an example. It is a 2001 Spanish-Mexican gothic horror film directed by Guillermo del Toro, and written by del Toro, David Muñoz, and Antonio Trashorras. A French horror film Brotherhood of the Wolf (2001) became the second-highest-grossing French language film in the United States in the last two decades. The Swedish film Let the Right One In (2008) was also successful. REC is a 2007 Spanish zombie horror film, co-written and directed by Jaume Balagueró and Paco Plaza. Martyrs (2008), a French-Canadian horror film, was controversial upon its release, receiving polarizing reviews. Another notable film is The Orphanage (2007), a Spanish horror film and the debut feature of Spanish filmmaker J. A. Bayona. A Tale of Two Sisters is a 2003 South Korean psychological drama horror film written and directed by Kim Jee-woon.

text: Another trend is the emergence of psychology to scare audiences, rather than gore. The Others (2001) proved to be a successful example of a psychological horror film. A minimalist approach which was equal parts Val Lewton's theory of "less is more", usually employing the low-budget techniques utilized on The Blair Witch Project (1999), has been evident, particularly in the emergence of Asian horror movies which have been remade into successful Americanized versions, such as The Ring (2002), The Grudge (2004), Dark Water (2005), and Pulse (2006). In March 2008, China banned the movies from its market.[26] Credo (2008) and Triangle (2009) are two British psychological horror films. What Lies Beneath (2000) is a supernatural horror film directed by Robert Zemeckis, starring Harrison Ford and Michelle Pfeiffer as a couple who experience a strange haunting of their home. Orphan (2009) is a notable psychological horror film.

text: The films I Am Legend (2007), Quarantine (2008), Zombieland (2009), and 28 Days Later (2002) featured an update of the apocalyptic and aggressive zombie genre. The latter film spawned a sequel: 28 Weeks Later (2007). An updated remake of Dawn of the Dead (2004) soon appeared as well as the zombie comedy Shaun of the Dead (2004) and Spanish -Cuban comedy zombie film Juan of the Dead (2012). This resurgence led George A. Romero to return to his Living Dead series with Land of the Dead (2005), Diary of the Dead (2007) and Survival of the Dead (2009).[27] Cannibals were present in horror films such as Dahmer (2002), Wrong Turn (2003), Tooth and Nail (2007) and Dying Breed (2008).

text: The Australian film Wolf Creek (2005) written, co-produced, and directed by Greg McLean revolves around three backpackers who find themselves taken captive and after a brief escape, hunted down by Mick Taylor in the Australian outback. The film was ambiguously marketed as being "based on true events"; the plot bore elements reminiscent of the real-life murders of tourists by Ivan Milat in the 1990s, and Bradley Murdoch in 2001; and contained more extreme violence. An extension of this trend was the emergence of a type of horror with emphasis on depictions of torture, suffering and violent deaths, (variously referred to as "horror porn", "torture porn", "splatterporn" and "gore-nography") with films such as Ghost Ship (2002), The Collector (2009), Saw (2004), Hostel (2005), and their respective sequels, frequently singled out as examples of emergence of this subgenre.[28] The Saw film series holds the Guinness World Record of the highest-grossing horror franchise in history.[29] Finally, with the arrival of Paranormal Activity (2007), which was well received by critics and an excellent reception at the box office, minimalist horror approach started by The Blair Witch Project was reaffirmed. Cloverfield (2008) is another found footage horror film. The Mist (2007) is a science-fiction horror film based on the 1980 novella of the same name by Stephen King. Antichrist (2009) is an English-language Danish experimental horror film written and directed by Lars von Trier, and starring Willem Dafoe and Charlotte Gainsbourg. The Exorcism of Emily Rose is a 2005 legal drama horror film directed by Scott Derrickson, loosely based on the story of Anneliese Michel. The Children (2008) is British horror film focusing on the mayhem created by several children.

text: Remakes of earlier horror movies became routine in the 2000s. In addition to the remake of Dawn of the Dead (2004), as well as the remake of both Herschell Gordon Lewis' cult classic 2001 Maniacs (2003) and the remake of Tobe Hooper's classic The Texas Chainsaw Massacre (2003), there was also the 2007 Rob Zombie-written and -directed remake of John Carpenter's Halloween.[30] The film focused more on Michael's backstory than the original did, devoting the first half of the film to Michael's childhood. It was critically panned by most,[31][32] but was a success in its theatrical run, spurring its own sequel. This film helped to start a "reimagining" riot in horror filmmakers. Among the many remakes or "reimaginings" of other popular horror films and franchises are films such as Thirteen Ghosts (2001), The Texas Chainsaw Massacre (2003), The Hills Have Eyes (2006), Friday the 13th (2009),[33] Children of the Corn (2009),[34] Halloween (2007), Prom Night (2008), The Omen (2006), Carrie (2002), The Wicker Man (2006), Day of the Dead (2008), Night of the Demons (2009), My Bloody Valentine (2009), Willard (2003), Black Christmas (2006), The Amityville Horror (2005), April Fool's Day (2008), The Fog (2005), The Hitcher (2007), It's Alive (2009), When a Stranger Calls (2006), The Last House on the Left (2009).

text: Remakes remain popular, with films such as A Nightmare on Elm Street (2010),[35] The Crazies (2010), I Spit on Your Grave (2010), Don't Be Afraid of the Dark (2010), Fright Night (2011), Maniac (2012), and Poltergeist (2015). The 1976 film Carrie saw its second remake in 2013, which is the third film adaptation of Stephen King's 1974 novel of the same name. Child's Play saw a sequel with Curse of Chucky (2013), while Halloween, Friday the 13th, and Hellraiser all had reboots in the works.[36][37][38] The 2013 Evil Dead is the fourth installment in the Evil Dead franchise, and serves as a soft reboot of the original 1981 film and as a continuation to the original film trilogy.

text: Serialized, found footage style web videos featuring Slender Man became popular on YouTube in the beginning of the decade. Such series included TribeTwelve, EverymanHybrid, and Marble Hornets, the latter of which has been adapted into a feature film. The character as well as the multiple series is credited with reinvigorating interest in found footage as well as urban folklore. Horror has become prominent on television with The Walking Dead, American Horror Story, and The Strain. Also, many popular horror films have had successful television series made: Psycho spawned Bates Motel, The Silence of the Lambs spawned Hannibal, and both Scream and Friday the 13th had TV series in development.[39][40]

text: You're Next (2011) and The Cabin in the Woods (2012) led to a return to the slasher genre; the latter was intended also as a critical satire of torture porn.[41] The Green Inferno (2015) pays homage to the controversial horror film Cannibal Holocaust (1980). Australian psychological horror The Babadook (2014) was met with critical acclaim. It Follows (2014) subverted traditional horror tropes of sexuality and slasher films and enjoyed commercial and critical success. The Conjuring deal with the paranormal. Sinister (2012) is a British-American supernatural horror film directed by Scott Derrickson and written by Derrickson and C. Robert Cargill. Another notable supernatural horror film is Insidious (2010). The Witch (2015) is a historical period supernatural horror film written and directed by Robert Eggers in his directorial debut, which follows a Puritan family encountering forces of evil in the woods beyond their New England farm. Get Out (2017) received universal acclaim from critics and audiences alike. Its plot follows a black man who uncovers a disturbing secret when he meets the family of his white girlfriend. Adapted from the Stephen King novel, It (2017) set a box office record for horror films by grossing $123.1 million on opening weekend in the United States and nearly $185 million globally.[42] Gerald's Game (2017) is a psychological horror film based on Stephen King's novel of the same name. Other horror films include Frozen (2010), Black Swan (2010), Devil (2010), The Innkeepers (2011), Oculus (2013), Under the Skin (2013), Mama (2013), Green Room (2015), The Invitation (2015), Hush (2016), Lights Out (2016), Don't Breathe (2016), It Comes at Night (2017).

text: A Quiet Place (2018) is a critically acclaimed post-apocalyptic science-fiction horror film with a plot that follows a family who must live life in silence while hiding from extraterrestrial creatures that arrived on earth on fragments from their exploded home planet, and which hunt exclusively by sound. Annihilation (2018) is another successful science-fiction horror film.

text: The success of non-English language films continued with the Swedish film Marianne (2011), while Let the Right One In (2008) was the subject of a Hollywood remake, Let Me In (2010). South Korean horror produced I Saw the Devil (2010) and Train to Busan (2016). Raw is a 2016 French-Belgian horror drama written and directed by Julia Ducournau, and starring Garance Marillier. Goodnight Mommy (2014) (German: Ich seh, Ich seh) is an Austrian horror film.

text: Subgenres[edit]

text:
Action horror – A subgenre combining the intrusion of an evil force, event, or personage of horror movies with the weapon fights and frenetic chases of the action genre. Themes or elements often prevalent in typical action-horror films include gore, demons, aliens, vicious animals, vampires and, most commonly, zombies. This category also fuses the fantasy genre. Examples include: Aliens, Predator, Dog Soldiers, From Dusk till Dawn, I Saw the Devil, Priest, Feast and Train to Busan.
Horror adventure - A film that blends expeditions, exploration, exotic places and other adventure elements in a horror setting. Examples include: King Kong, The Descent, Silent Hill, Jaws, Cannibal Holocaust.
Comedy horror – Combines elements of comedy and horror fiction. The comedy horror genre often crosses over with the black comedy genre and are occasionally also horror films with a lower rating aimed at a family audience. The short story The Legend of Sleepy Hollow by Washington Irving is cited as "the first great comedy-horror story".[43] Examples of comedy horror films include: An American Werewolf in London, Beetlejuice, Jennifer's Body, Teeth, Nina Forever, Slither, Army of Darkness, Zombieland, Scary Movie and Idle Hands. Gremlins and Ghostbusters were examples of comedy horror films aimed at a family audience.
Body horror – In which the horror is principally derived from the graphic destruction or degeneration of the body. Other types of body horror include unnatural movements, or the anatomically incorrect placement of limbs to create 'monsters' out of human body parts. David Cronenberg is one of the notable directors of the genre. Body horror films include: Starry Eyes, Videodrome, Dead Ringers, Contracted, The Thing, The Fly and American Mary.
Horror drama – A film that focuses on imperiled characters dealing with realistic emotional struggles, often involving dysfunctional family relations, in a horror setting. The film's horror elements often serve as a backdrop to an unraveling dramatic plot. Examples include: Dark Water, The Exorcism of Emily Rose, Lights Out, The Babadook, The Fly, It, Let the Right One In, Antichrist, Excision, Mama, Mirrors and Audition.
Holiday horror – A film which depicts horror events which are set during a holiday or holiday season. It often involves a psychopathic killer stalking a sequence of victims in a violent manner. It is set during Christmas, Halloween, Valentine's Day, April Fools' Day, or Thanksgiving. Examples include: Silent Night, Deadly Night, Black Christmas, Halloween, My Bloody Valentine, Home Sweet Home, April Fool's Day, Valentine, Trick 'r Treat and All Through the House.
Psychological horror – Relies on characters' fears, guilt, beliefs, eerie sound effects, relevant music, emotional instability and at times, the supernatural and ghosts, to build tension, scare and further the plot. Notable psychological horror films include: Repulsion, Rosemary's Baby, The Silence Of The Lambs, The Shining, May, Credo, Black Swan, The Changeling, The Uninvited and Get Out.
Science fiction horror – Often revolves around subjects that include but are not limited to killer aliens, mad scientists, and/or experiments gone wrong. Examples include: Frankenstein, Species, Mimic, Alien, The Fly, The Thing, The Blob, Apollo 18, Event Horizon and Resident Evil.
Slasher film – Often revolves around a serial killer who systematically murders people through violent means. Examples include: Psycho, The Texas Chain Saw Massacre, Black Christmas, Halloween, Friday the 13th, A Nightmare on Elm Street, Child's Play, and Scream.
Splatter film – These films deliberately focus on graphic portrayals of gore and graphic violence. Through the use of special effects and excessive blood and guts, they tend to display an overt interest in the vulnerability of the human body and the theatricality of its mutilation. Examples of splatter horror films include: Inside, Train, The Human Centipede, Hostel, Saw, Blood Feast, Storm Warning and Maniac.
Supernatural horror – Includes menacing ghosts, demons, or other depictions of supernatural occurrences. Supernatural horror films often combine elements of religion into the plot. Common themes include vengeful ghosts, witches, the devil, and demonic possession. Examples include: The Ring, The Grudge, The Amityville Horror, It, The Omen, The Exorcist, Paranormal Activity, The Blair Witch Project, The Conjuring, Silent Hill, Sinister
Gothic horror – Gothic horror is a type of story that contains elements of goth and horror. At times it may have romance that unfolds in the setting of a horror tale, usually suspenseful. Some of the earliest horror movies were of this subgenre. Examples include: Dracula, Sleepy Hollow, The Others, The Phantom of the Opera, Kill, Baby, Kill, Nosferatu, and Crimson Peak.
Natural horror – A subgenre of horror films "featuring nature running amok in the form of mutated beasts, carnivorous insects, and normally harmless animals or plants turned into cold-blooded killers."[44] This genre may sometimes overlap with the science fiction and action and adventure genres. Examples include: The Birds, Jaws, Piranha, Bats, Lake Placid, Rogue, Alligator, Black Water
Zombie film – Zombie films feature creatures who are usually portrayed as either reanimated corpses or mindless human beings. Distinct subgenres have evolved, such as the zombie comedy, which may or may not retain a significant horror theme, and often crosses into black comedy. Examples include: White Zombie, Night of the Living Dead, Dawn of the Dead, REC, 28 Days Later, Deadgirl, Dead Snow, Night of the Creeps and Messiah of Evil.
Found footage horror: A film "technique" sometimes referred to as a subgenre which involves giving the audience a first person view of the story that is discovered from an original recording source within the plot. Recording film in this way merges the audience with the character’s experiences inducing suspense, shock, and bafflement.[45] Examples of first-person horror include The Blair Witch Project (1999), Paranormal Activity (2007), Cloverfield (2008), and Devil's Due (2014) [46]
Teen horror – A horror subgenre that victimizes teenagers while usually promoting strong, anti-conformity teenage leads, appealing to young generations. This subgenre often depicts themes of sex, under-aged drinking, and gore. It was most popular in 1964-1965.[47]
Cyber horror – A film which is either has its narrative told all through a computer or any other form of technology, or that utilizes technology as a key plot element. Examples include Unfriended and The Den.

text: Influences[edit]

text: Influences on society[edit]

text: Horror films' evolution throughout the years has given society a new approach to resourcefully utilize their benefits. The horror film style has changed over time, but, in 1996, Scream set off a "chain of copycats", leading to a new variety of teenage, horror movies.[48] This new approach to horror films began to gradually earn more and more revenue as seen in the progress of Scream movies; the first movie earned $6 million and the third movie earned $101 million.[48] The importance that horror films have gained in the public and producers’ eyes is one obvious effect on our society.

text: Horror films' income expansion is only the first sign of the influences of horror flicks. The role of women and how women see themselves in the movie industry has been altered by the horror genre. Early horror films such as My Bloody Valentine (1981), Halloween (1978), and Friday the 13th (1980) were produced mostly for male audiences in order to "feed the fantasies of young men".[49] This idea is no longer prevalent in horror films, as women have become not only the main audience and fans of horror films but also the main protagonists of contemporary horror films.[50] Movie makers have also begun to integrate topics more broadly associated with other genres into their films in order to grow audience appeal.[49]

text: Many early horror films created high social and legal controversy. In the U.S., the Motion Picture Production Code was in force between 1930 and 1968, although it was strictly enforced only from 1934 to the late 1950s. The Code set guidelines of what was morally acceptable to show in movies, and, as such, it restrained movies containing controversial themes, severe violence, explicit sexuality or nudity. The gradual abandonment of the Code, and eventually its formal repeal in 1968 (when it was replaced by the MPAA film rating system) offered more freedom to the movie industry. Nevertheless, controversy continued to surround horror movies, and many continued to face censorship issues in many countries. An example of such film is the 1978 I Spit on Your Grave, an American rape-and-revenge exploitation horror film written, co-produced, directed, and edited by Meir Zarchi. The film was received negatively by critics, but it attracted a great deal of national and international attention due to its explicit scenes of rape, murder and prolonged nudity which led it to be banned in many countries, including Ireland, Norway, Iceland, and West Germany. Many of these countries have in later years removed the ban, but the film remains prohibited in Ireland.[51]

text: Influences internationally[edit]

text: While horror is only one genre of film, the influence it presents to the international community is large. Horror movies tend to be a vessel for showing eras of audiences issues across the globe visually and in the most effective manner. Jeanne Hall, a film theorist, agrees with the use of horror films in easing the process of understanding issues by making use of their optical elements.[52] The use of horror films to help audiences understand international prior historical events occurs, for example, to show the horridness of the Vietnam War, the Holocaust and the worldwide AIDS epidemic.[53] However, horror movies do not always present positive endings. In fact, in many occurrences the manipulation of horror presents cultural definitions that are not accurate, yet set an example to which a person relates to that specific cultural from then on in their life.[54]

text: The visual interpretations of films can be lost in the translation of their elements from one culture to another like in the adaptation of the Japanese film Ju on into the American film The Grudge. The cultural components from Japan were slowly "siphoned away" to make the film more relatable to a western audience.[55] This deterioration that can occur in an international remake happens by over-presenting negative cultural assumptions that, as time passes, sets a common ideal about that particular culture in each individual.[54] Holm's discussion of The Grudge remakes presents this idea by stating, "It is, instead, to note that The Grudge films make use of an un-theorized notion of Japan... that seek to directly represent the country."


document_title: Shot clock

question_text: when do you reset shot clock in basketball

text: Shot clock

text: History[edit]

text: Background[edit]

text: The NBA (National Basketball Association) had problems attracting fans (and positive media coverage) before the shot clock's inception.[2] This was due to teams running out the clock once they were leading in a game; without the shot clock, teams passed the ball nearly endlessly without penalty. If one team chose to stall, the other team (especially if behind) would often commit fouls to get the ball back following the free throw. Very low-scoring games with many fouls were common, which bored fans. The most extreme case occurred on November 22, 1950, when the Fort Wayne Pistons defeated the Minneapolis Lakers by a record-low score of 19–18, including 3–1 in the fourth quarter.[3] The Pistons held the ball for minutes at a time without shooting (they attempted 13 shots for the game) in order to limit the impact of the Lakers' dominant George Mikan. The Pistons' performance led the St. Paul Dispatch to write "[The Pistons] gave pro basketball a great black eye."[4] NBA President Maurice Podoloff said, "In our game, with the number of stars we have, we of necessity run up big scores."[5] A few weeks after the Pistons/Lakers game, the Rochester Royals and Indianapolis Olympians played a six-overtime game with only one shot in each overtime - in each overtime period, the team who had the ball first held the ball for the entirety of the period before attempting a last-second shot. The NBA tried several rule changes in the early 1950s to speed up the game and reduce fouls before eventually adopting the shot clock.

text: Creation[edit]

text: The shot clock first came to use in 1954 in Syracuse, New York, where Syracuse Nationals (now the Philadelphia 76ers) owner Danny Biasone and general manager Leo Ferris experimented using a 24-second version during a scrimmage game.[6] According to Biasone, "I looked at the box scores from the games I enjoyed, games where they didn't screw around and stall. I noticed each team took about 60 shots. That meant 120 shots per game. So I took 2,880 seconds (48 minutes) and divided that by 120 shots. The result was 24 seconds per shot."[3][7] Biasone and Ferris then convinced the NBA to adopt it for the 1954–55 season, a season in which the Nationals won the NBA Championship.

text: Syracuse Nationals General Manager Leo Ferris has emerged in the discussion as one of those involved in the creation and development of the shot clock. Along with Danny Biasone and Emil Barboni, a scout for the Nats, Leo Ferris was a key figure in developing the 24-second clock.[8] Jack Andrews, longtime basketball writer for The Syracuse Post-Standard, often recalled how Ferris would sit at Danny Biasone's Eastwood bowling alley, scribbling potential shot clock formulas onto a napkin.[9] Ferris, who loved mathematics, ended up dividing the number of seconds in a 48-minute game (2,880) by the average number of shots taken in a game (120) to get to the 24-second time limit per possession.[10] While he and Biasone often share in the credit for the shot clock, it was Ferris who was singled out by business manager Bob Sexton at the 1954 team banquet for pushing the shot clock rule.

text: Use and reaction[edit]

text: When it was first introduced by the NBA, the 24-second shot clock made players so nervous that it hardly came into play, as players were taking fewer than 20 seconds to shoot. According to Syracuse star Dolph Schayes, "We thought we had to take quick shots – a pass and a shot was it – maybe 8–10 seconds... But as the game went on, we saw the inherent genius in Danny's 24 seconds – you could work the ball around [the offensive zone] for a good shot."[7]

text: The shot clock, together with some rule changes concerning fouls, revolutionized NBA basketball. In the last pre-clock season (1953–54), teams averaged 79 points per game; in the first year with the clock (1954–55), the average was 93 points,[3] which went up to 107 points by its fourth year in use (1957–58).[11] The advent of the shot clock (and the resulting increase in scoring) coincided with an increase in attendance, which increased 40% within a few years to an average of 4,800 per game.[12]

text: The shot clock received near-universal praise for its role in improving the style of play in the NBA. Coach and referee Charley Eckman said, "Danny Biasone saved the NBA with the 24-second rule."[13] Boston Celtic all-star Bob Cousy said, "Before the new rule, the last quarter could be deadly. The team in front would hold the ball indefinitely, and the only way you could get it was by fouling somebody. In the meantime, nobody dared take a shot and the whole game slowed up. With the clock, we have constant action. I think it saved the NBA at that time. It allowed the game to breathe and progress."[14] League president Maurice Podoloff called the adoption of the shot clock "the most important event in the NBA."[3] The league itself states, "Biasone's invention rescue[d] the league."[13]

text: Adoption by other leagues[edit]

text: Two later pro leagues that rivaled the NBA adopted a modified version of the shot clock. The American Basketball League used a 30-second shot clock for its two years in existence (1961–1963). The American Basketball Association also adopted a 30-second clock when it launched in 1967–68, switching to the NBA's 24-second length for its final season (1975–76).

text: In the 1969–70 season, women's collegiate basketball (at the time sanctioned by the Commission on Intercollegiate Athletics for Women) used a 30-second shot clock on an experimental basis, officially adopting it for the 1970–71 season.[15] Unlike the women's side, there was initial resistance to the implementation of a shot clock for men's NCAA basketball, due to fears that smaller colleges would be unable to compete with powerhouses in a running game. However, after extreme results like an 11–6 Tennessee win over Temple in 1973, support for a men's shot clock began to build.[16] The NCAA introduced a 45-second shot clock for the men's game in the 1985–86 season, reducing it to 35 seconds in the 1993–94 season[17] and 30 seconds in the 2015–16 season.[18]

text: From its inception in 1975, the Philippine Basketball Association adopted a 25-second shot clock. This was because the shot clocks then installed at the league's main venues, the Araneta Coliseum and Rizal Memorial Coliseum (the latter no longer used by the league), could only be set at 5-second intervals. The league later adopted a 24-second clock starting from the 1995 season. The Metropolitan Basketball Association in the Philippines used the 23-second clock from its maiden season in 1998. In Filipino college basketball, the NCAA Basketball Championship (Philippines) and the UAAP Basketball Championship adopted a 30-second clock; they switched to 24 seconds starting with the 2001–02 season, the first season to start after the FIBA rule change in 2001.

text: Operation[edit]

text: In the NBA (since 1954), Women's National Basketball Association (since 2006), and FIBA play (since 2000; 30-second from 1956 to 2000), the shot clock counts down 24 seconds, thus often being called the "24-second clock." If a shot is attempted and hits or enters the rim, or if the defensive team gains possession via a rebound, steal, or out-of-bounds play, the shot clock resets. Failure by the offense to attempt a shot that hits the rim within the prescribed time results in a "shot clock violation" and a loss of possession to the other team. Three signals indicate when the shot clock expires—a shot clock signal, illuminated lights on the shot clock (NBA, FIBA, Euroleague, and many venues using an NBA-style transparent shot clock), and in the NBA and Euroleague only, a yellow LED light strip on the backboard. In the 2011–12 NBA season and 2014–15 Euroleague, the last five seconds of the shot clock were modified to include tenths of a second, allowing offensive players to see precisely how much time they have to shoot and officials to determine any last-second shots easily.[19] In the 2016-17 NBA season, a new 'official timekeeper' deal for the NBA with Swiss watch manufacturer Tissot introduced a new united official game clock/shot clock system, putting both timing systems under the same system for the first time.[20] Tissot also became official timekeeper for the WNBA in the 2017 season.

text: Furthermore, the shot clock is not reset on a foul in the frontcourt. Rule changes in the NBA since 1998, and in FIBA after 2010 state the shot clock will be reset only if 13 seconds or fewer are on the shot clock, after which it is reset to 14 seconds.

text: The (W)NBA and Euroleague have different rules on the shot clock reset on jump balls; while both leagues have jump balls retained by the offense are reset to 14 seconds (if 13 seconds or fewer are on the shot clock), in the (W)NBA, if the defence causes the jump ball, the shot clock is not reset if the offense keeps control of the ball unless under 5.0 seconds of time remain, where it is reset to 5.0 seconds.

text: Also in FIBA play, if the offense retains control of a ball following a rebound, the shot clock is reset to 14 seconds.

text: Since the 2015–16 season, all American college basketball uses a 30-second shot clock, while Canadian university basketball uses a 24-second clock. The American women's game has used a 30-second clock since the 1970s, but the men's game did not adopt a shot clock until 1985. The men's limit was originally 45 seconds, and was shortened to 35 seconds in 1993 before going to 30 seconds in 2015. The National Federation of State High School Associations (NFHS), which sets rules for high school basketball in the U.S., does not mandate the use of a shot clock, instead leaving the choice to use a clock and its duration up to each individual state association. Proposals to adopt a national shot clock for high school basketball have been voted down by the NFHS as recently as 2011.[21] Currently, eight U.S. states require the use of a shot clock of 30 seconds in high school competition: California, Maryland, Massachusetts, New York, North Dakota, Rhode Island, South Dakota, and Washington.[21]

text:
Organization
Duration

NBA
24 seconds
14 seconds (offensive retains control after fouls)

WNBA

U Sports (Canadian universities)

NCAA
30 seconds

United States high school basketball
30 seconds (some states only)

FIBA
24 seconds (full-court game)
14 seconds (reset when offense retains ball)
12 seconds (3x3 half-court)[22]

text:
Sport
Organization
Duration

Lacrosse
MLL
60 seconds

NLL
30 seconds

Ringette
N/A
30 seconds

Water polo
FINA
30 seconds

Canoe polo
ICF
60 seconds

Ten-pin bowling
PBA
25 seconds

Snooker
Snooker Shoot-Out
15 seconds (first five minutes)
10 seconds (last five minutes)

Carom billiards
(Three-cushion billiards)
World Championship
European Championship
World Cup
40 seconds[23]
(3 time-outs (40 sec.) possible)

text: Similar rules in basketball[edit]

text: The shot clock and its enforcement is used in concert with the rule that requires an offensive team to advance the ball across half-court and into the offensive zone (or front court) within a referee's count (this rule was first introduced in 1933, predating the shot clock by over 2 decades). In men's college basketball, the offense must advance the ball to the front court within 10 seconds, the same length used by FIBA and the NBA until they adopted an 8-second limit in 2000 and 2001, respectively. Failure by the offense to advance the ball to the front court within the time limit results in a turnover to the other team.

text: Generally, the 10-second (or 8-second) count is independent from the shot clock's operation; in fact, a referee may count the 8 or 10 seconds through a visible motion of his hand or arm. Women's college basketball introduced the 10-second limit in 2013–2014, and provided that officials will not count the ten seconds but "will use the shot clock to determine if a 10-second violation has occurred." As a general reference, it refers to the shot clock reaching 15 (FIBA/[W]NBA; because the NBA shot clock registers tenths in the final five seconds, the violation occurs once the clock registers 15.9 seconds on the console, which is posted as 15 on the clock) or 20 (college) before a violation can be called.[24]