Adam Lowenstein
Biographic Data
| ID | 3766485 |
|---|---|
| NAME | Adam Lowenstein |
| GIVEN NAMES | Adam |
| FAMILY NAME | Lowenstein |
| SIGNATURE | LOWENSTEIN A |
| AFFILIATIONS | University of Pittsburgh |
| ORCID | 0000-0002-8438-0746 |
| VERIFIED | Yes |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 4 |
| WORKS AS AUTHOR | 17 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1998 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
“The One Who Did Not Die”
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Brian E. Crim. Planet Auschwitz
Journal Article Brian E. Crim. Planet Auschwitz: Holocaust Representation in Science Fiction and Horror Film and Television. Get access Brian E. Crim. Planet Auschwitz: Holocaust Representation in Science Fiction and Horror Film and Television. New Brunswick, NJ: Rutgers University Press, 2020. Pp. 268. Cloth $125.00. Adam Lowenstein Adam Lowenstein University of Pittsburgh, US Email: [email protected] Search for other works by this author on: Oxfo…
Acting Your Age
Acting Your Age:Social and Psychological Horror in The Amusement Park and Relic Adam Lowenstein (bio) There is no doubt that film critic Jason Zinoman put his finger on the pulse of something significant occurring in the horror genre when he published "Home Is Where the Horror Is" in the New York Times in 2018. The critical and commercial success of films such as The Babadook (Jennifer Kent, 2014), Get Out (Jordan Peele, 2017), and Hereditary (Ar…
Horror Film and Otherness
Adam Lowenstein offers a new account of horror and why it matters for understanding social otherness. He argues that horror films reveal how the category of the other is not fixed. Instead, the genre captures ongoing metamorphoses across "normal" self and "monstrous" other
Horror, Trauma, and George A. Romero’s Martin (1978)
This essay analyzes how George A. Romero, in his underrated psychological vampire film Martin, translates individual trauma (slow, process-based, unrecognized) into collective trauma (sudden, event-based, recognized) through a vocabulary of horror. The language of trauma spoken by Martin is not the one we expect from the horror film, with its traditional investments in fantastic spectacle. Instead, it is a language that combines horror’s fantasti…
The “great adventure of a society”
Chronicling the tour of “the restless analyst” on his return to America after a twenty-one-year absence, The American Scene originally recorded this ten-month progress over the course of sixteen serial installments. James’s pattern of movement through the country, and its reflection in the volatile sentences that describe it, befit what I call the author’s “serial aesthetic,” a prose technique indebted to James’s career as a serial novelist, one …
‘Short‐circuiting emotions’
‘Art and pragmatism’
A cinema of disorientation
My genius is altogether imitative”
En explorant le caractère réflexif du premier long roman de Henry James, Roderick Hudson , cet article souligne la maîtrise des techniques et des contraintes de la publication sérielle que possède le jeune romancier pour ensuite aborder la question de la représentation artistique. La mimesis a un intérêt tout particulier dans ce roman qui porte sur l’éducation esthétique du jeune sculpteur américain à Rome, où l’imitation répétée est censée parad…
Spectacle horror and Hostel
What Looking Backward Doesn't See
Edward Bellamy's influential utopian novel Looking Backward (1888) dramatizes the epistemological impact of an increasingly media-saturated urban environment on turn-of-the-century American culture and identity. Bellamy's fanciful adaptation of the telephone receives particularly careful analysis in this essay. Deprived of its transmitting function, this denatured instrument both disrupts Bellamy's utopian project and, more subtly, registers the …
Living Dead
This essay analyzes the relationship between fear and film by exploring the theoretical concept of "attractions" and its value for a historical understanding of three seminal American horror films directed by George A. Romero: Night of the Living Dead (1968), Land of the Dead (2005), and Diary of the Dead (2008). All three films belong to the same "Living Dead" series, so the essay focuses especially on their shared temporal relations to historic…
Promises of Violence
In his two most recent films, Eastern Promises (2007) and A History of Violence (2005), the director David Cronenberg turns his attention more specifically than ever before to the conjuncture of violence and globalized geopolitics. The resulting illumination of how violence circulates in a global era where we are shown so much but see so little represents a crucial political turn for Cronenberg. Analyzing this turn invites consideration, through …
Response to Terry Smith
Cinema, Benjamin, and the allegorical representation of September 11
Films without a Face
Films without a Face
Response to Terry Smith
Cinema, Benjamin, and the allegorical representation of September 11
Promises of Violence
In his two most recent films, Eastern Promises (2007) and A History of Violence (2005), the director David Cronenberg turns his attention more specifically than ever before to the conjuncture of violence and globalized geopolitics. The resulting illumination of how violence circulates in a global era where we are shown so much but see so little represents a crucial political turn for Cronenberg. Analyzing this turn invites consideration, through …
Living Dead
This essay analyzes the relationship between fear and film by exploring the theoretical concept of "attractions" and its value for a historical understanding of three seminal American horror films directed by George A. Romero: Night of the Living Dead (1968), Land of the Dead (2005), and Diary of the Dead (2008). All three films belong to the same "Living Dead" series, so the essay focuses especially on their shared temporal relations to historic…
Spectacle horror and Hostel
What Looking Backward Doesn't See
Edward Bellamy's influential utopian novel Looking Backward (1888) dramatizes the epistemological impact of an increasingly media-saturated urban environment on turn-of-the-century American culture and identity. Bellamy's fanciful adaptation of the telephone receives particularly careful analysis in this essay. Deprived of its transmitting function, this denatured instrument both disrupts Bellamy's utopian project and, more subtly, registers the …
My genius is altogether imitative”
En explorant le caractère réflexif du premier long roman de Henry James, Roderick Hudson , cet article souligne la maîtrise des techniques et des contraintes de la publication sérielle que possède le jeune romancier pour ensuite aborder la question de la représentation artistique. La mimesis a un intérêt tout particulier dans ce roman qui porte sur l’éducation esthétique du jeune sculpteur américain à Rome, où l’imitation répétée est censée parad…
‘Short‐circuiting emotions’
‘Art and pragmatism’
A cinema of disorientation
The “great adventure of a society”
Chronicling the tour of “the restless analyst” on his return to America after a twenty-one-year absence, The American Scene originally recorded this ten-month progress over the course of sixteen serial installments. James’s pattern of movement through the country, and its reflection in the volatile sentences that describe it, befit what I call the author’s “serial aesthetic,” a prose technique indebted to James’s career as a serial novelist, one …
Horror, Trauma, and George A. Romero’s Martin (1978)
This essay analyzes how George A. Romero, in his underrated psychological vampire film Martin, translates individual trauma (slow, process-based, unrecognized) into collective trauma (sudden, event-based, recognized) through a vocabulary of horror. The language of trauma spoken by Martin is not the one we expect from the horror film, with its traditional investments in fantastic spectacle. Instead, it is a language that combines horror’s fantasti…
Acting Your Age
Acting Your Age:Social and Psychological Horror in The Amusement Park and Relic Adam Lowenstein (bio) There is no doubt that film critic Jason Zinoman put his finger on the pulse of something significant occurring in the horror genre when he published "Home Is Where the Horror Is" in the New York Times in 2018. The critical and commercial success of films such as The Babadook (Jennifer Kent, 2014), Get Out (Jordan Peele, 2017), and Hereditary (Ar…
Horror Film and Otherness
Adam Lowenstein offers a new account of horror and why it matters for understanding social otherness. He argues that horror films reveal how the category of the other is not fixed. Instead, the genre captures ongoing metamorphoses across "normal" self and "monstrous" other
Brian E. Crim. Planet Auschwitz
Journal Article Brian E. Crim. Planet Auschwitz: Holocaust Representation in Science Fiction and Horror Film and Television. Get access Brian E. Crim. Planet Auschwitz: Holocaust Representation in Science Fiction and Horror Film and Television. New Brunswick, NJ: Rutgers University Press, 2020. Pp. 268. Cloth $125.00. Adam Lowenstein Adam Lowenstein University of Pittsburgh, US Email: [email protected] Search for other works by this author on: Oxfo…
“The One Who Did Not Die”
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
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