The Thing (Devil's Advocates)

Consigned to the deep freeze of critical and commercial reception upon its release in 1982, __The Thing__ has bounced back spectacularly to become one of the most highly regarded productions from the 1980s 'Body Horror' cycle of films, experiencing a wholesale and detailed reappraisal that has secured its place in the pantheon of modern cinematic horror. Thirty years on, and with a recent prequel reigniting interest, this book looks back to the film's antecedents and to the changing nature of its reception and the work that it has influenced. The themes discussed include the significance of __The Thing__'s subversive antipodal environment, the role that the film has played in the corruption of the onscreen monstrous form, the qualities that make it an exemplar of the director's work and the relevance of its legendary visual effects despite the advent of CGI. Topped and tailed by a full plot breakdown and an appreciation of its notoriously downbeat ending, this exploration of the events at US Outpost 31 in the winter of 1982 captures __The Thing__'s sub-zero terror in all its gory glory. "Consigned to the deep freeze of critical and commercial reception upon its release in 1982, The Thing has bounced back spectacularly to become one of the most highly regarded productions from the 1980s 'Body Horror' cycle of films, experiencing a wholesale and detailed reappraisal that has secured its place in the pantheon of modern cinematic horror. Thirty years on, and with a recent prequel reigniting interest, Jez Conolly looks back to the film's antecedents and forward to the changing nature of its reception and the work that it has influenced. The themes discussed include the significance of The Thing 's subversive antipodal environment, the role that the film has played in the corruption of the onscreen monstrous form, the qualities that make it an exemplar of the director's work and the relevance of its legendary visual effects despite the advent of CGI. Topped and tailed by a full plot breakdown and an appreciation of its notoriously downbeat ending, this exploration of the events at US Outpost 31 in the winter of 1982 captures The Thing 's sub-zero terror in all its gory glory"--Publisher's description "Consigned to the deep freeze of critical and commercial reception upon its release in 1982, The Thing has bounced back spectacularly to become one of the most highly regarded productions from the 1980s 'Body Horror' cycle of films, experiencing a wholesale and detailed reappraisal that has secured its place in the pantheon of modern cinematic horror. Thirty years on, and with a recent prequel reigniting interest, Jez Conolly looks back to the film's antecedents and to the changing nature of its reception and the work that it has influenced. The themes discussed include the significance of The Thing's subversive antipodal environment, the role that the film has played in the corruption of the onscreen monstrous form, the qualities that make it an exemplar of the director's work and the relevance of its legendary visual effects despite the advent of CGI. Topped and tailed by a full plot breakdown and an appreciation of its notoriously downbeat ending, this exploration of the events at US Outpost 31 in the winter of 1982 captures The Thing's sub-zero terror in all its gory glory"--Abstract 1. 'Now I'll show you what I already know'; 2. 'I know how this one ends'; 3. 'First goddamn week of winter'; 4. 'What is that... is that a man in there... or something?'; 5. 'What the hell are you looking at me like that for?'; 6. 'Weird and pissed off whatever it is'; 7. 'It's not dead yet!'; 8. 'Why don't we just... wait here for a little while... see what happens...'; Notes; Bibliography;Consigned to the deep freeze of critical and commercial reception upon its release in 1982, The Thing has bounced back spectacularly to become one of the most highly regarded productions from the 1980s 'Body Horror' cycle of films, experiencing a wholesale and detailed reappraisal that has secured its place in the pantheon of modern cinematic horror. Thirty years on, and with a recent prequel reigniting interest, Jez Conolly looks back to the film's antecedents and to the changing nature of its reception and the work that it has influenced. The themforwardes discussed include the significance. Jez Conolly is co-editor, with Caroline Whelan, of three books in the World Film Locations series (Dublin, Reykjavik and Liverpool) published by Intellect. He is Faculty Librarian for Arts and Social Sciences & Law at University of Bristol, UK. PER004020,Performing Arts/Film & Video/Guides & Reviews,PER004030,Performing Arts/Film & Video/History & Criticism