WRITING THE HORROR MOVIE
Book ID/图书代码： 02000014B69411
English Summary/英文概要： Tales of horror have always been with us, from Biblical times to the Gothic novel to successful modern day authors and screenwriters. Though the genre is often maligned, it is huge in popularity and its resilience is undeniable. Marc Blake and Sara Bailey offer a detailed analysis of the horror genre, including its subgenres, tropes and the specific requirements of the horror screenplay.
Tracing the development of the horror film from its beginnings in German Expressionism, the authors engage in a readable style that will appeal to anyone with a genuine interest in the form and the mechanics of the genre. This book examines the success of Universal Studio’s franchises of the ’30s to the Serial Killer, the Slasher film, Asian Horror, the Supernatural, Horror Vérité and current developments in the field, including 3D and remakes. It also includes step-by-step writing exercises and interviews with seasoned writers/directors/ producers discussing budget restrictions, screenplay form and formulas and how screenplays work during shooting.
Chinese Summary/中文概要： 恐怖故事总是伴随着我们，从圣经时代到哥特式小说再到成功的现代作者和编剧。虽然其风格往往是邪恶的，但它超强的人气和自身的应变能力是不可否认的。马克•布莱克和萨拉•贝利提供了恐怖小说的详细分析，包括它的子类型，比喻和恐怖电影剧本的具体要求。
追踪恐怖电影的发展要从德国表现主义开始，作者充满激情和易读的风格将吸引对该派的形式和技艺真正感兴趣的人。这本书探讨了环球影城30年专营权的成功，从连环杀手，血腥暴力的电影，亚洲恐怖，超自然，恐怖真相到目前在该领域的发展，包括3D和改造。书中还有一步一步的写作练习和对经验丰富的作家/导演/制片人的采访，一起讨论预算限制，剧本形式和公式，以及在拍摄时剧本如何发挥作用。（LNL）
Awards/获奖情况：事实上，剧本只是文学的一个代用形式。它不是一出戏剧，也不是书或电影，更不只是一个电影的蓝图。所有的电影，无论什么风格，都取决于剧本。只不过是导演将这些印刷文字变成了电影。我看到了平庸的剧本被制作成很好的电影。我看见了优秀的剧本被不称职的导演糟蹋。再次强调，重要的是让人们明白无论是什么类型的电影，原剧本的角色在电影制作上是相同的。——约翰•兰迪斯，2012
《恐怖电影写作》是特别为那些对恐怖电影剧本感兴趣，并希望看到剧本变成现实的人所写的。但它也充满了迷人的分析和有用的信息，一般多针对该流派的学者，学生和粉丝——无论这是对邪恶美学的沉思，提供专业恐怖怪物的心理轮廓，或者是如何利用你的电影将把它变成一个有利可图的特许经营的建议。马克•布莱克和萨拉•贝利分解了这两个问题！——达里尔•琼斯，爱尔兰都柏林大学圣三一学院英语学院教授
The truth is that the screenplay is a bastard form of literature. It is not a play nor book nor movie, and not just simply a blueprint for a film. All movies, regardless of genre, depend on the screenplay. However it is the director who makes the movie by realizing the printed words of the script on film. I have seen mediocre screenplays made into very good films. And I have seen excellent screenplays made into bad movies by incompetent directors. Again, it’s important for people to understand that the screenplays essential role in film making is the same regardless of the genre of the film. --John Landis, 2012
Writing the Horror Movie is written in particular for anyone interested in writing a screenplay for a horror film, and in seeing that screenplay turned into reality. But it’s also full of fascinating nuggets of analysis and useful information more generally for scholars, students and fans of the genre - whether this is musing on the aesthetics of disgust, offering nifty psychological profiles of major horror monsters, or advice on how to exploit your film and turn it into a lucrative franchise. Two dismembered thumbs up for Marc Blake and Sara Bailey! --Darryl Jones, Professor, School of English, Trinity College Dublin, Ireland
About the Author/作者介绍： 马克•布莱克已经在”星期日独立报“，”晚上标准“，”邮报“，”表达“和”编剧“上发表过文章，并且是”鹰苔”和“恐怖收藏”的自由作家。他现在在英国南安普顿索伦特大学教研究生的恐怖电影课程。他写了三本小说，分别是《中暑》，《大时代》和《24克拉的闲谈》。
萨拉•贝利是英国南安普顿索伦特大学剧本学科的带头人。她曾是编剧，并且是一名资深研究员和讲师。
Marc Blake has written for the Independent on Sunday, the Evening Standard, The Mail, Express and the Scriptwriter as well being a freelance writer on Eagle Moss’ ’The Horror Collection’. He now teaches horror film at Southampton Solent University, UK, on their graduate programme. He is the author of three novels, Sunstroke, Big Time, and 24 Karat Schmooze.
Sara Bailey is Course Leader for Screenwriting at Southampton Solent University, UK. She has worked as a screenwriter and is an experienced researcher and lecturer.
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