Murray Leeder
Biographic Data
| ID | 4929950 |
|---|---|
| NAME | Murray Leeder |
| GIVEN NAMES | Murray |
| FAMILY NAME | Leeder |
| SIGNATURE | LEEDER M |
| AFFILIATIONS | Carleton University |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
David Cronenberg
ReFocus
Horror Film
Throughout the history of cinema, horror has proven to be a genre of consistent popularity, which adapts to different cultural contexts while retaining a recognizable core. Horror Film: A Critical Introduction, the newest in Bloomsbury's Film Genre series, balances the discussions of horror’s history, theory, and aesthetics as no introductory book ever has. Featuring studies of films both obscure and famous, Horror Film is international in its sc…
X-Ray (1981), the Final Woman, and the Medical Slasher Film
This essay discusses the declining academic and continued popular currency of Carol J. Clover's concept of the Final Girl, and examines the term through X-Ray or Hospital Massacre (1981), a film of the first slasher cycle with a more mature protagonist than most. It extends Clover's ideas by showing how X-Ray is heavily concerned with medical issues, in particular the Foucauldian "medical gaze." The titular X-ray becomes a structural model for th…
Haunting and Minstrelsy in Bob Dylan's Masked and Anonymous
This article explores the ghost minstrel Oscar Vogel from Bob Dylan's film Masked and Anonymous. It sees Vogel both as a facet of the film's commentary on how war, slavery, and racism haunt America and as a refraction of how Dylan's star persona filtered a variety of different influences
Collective Screams
M. Robert‐Houdin goes to Algeria
In 1856, Jean Eugène Robert‐Houdin, the great legitimizer of stage magic, was dispatched to Algeria in service of the French government to perform before tribal assemblies. It was hoped that exposure to French magic would undermine the influence of their own miracle workers, the Marabout. Robert‐Houdin’s widely disseminated memoirs describe him cowing the Arabs into terror with his illusions, all the better to educate them. This essay draws compa…
Dylan's Floods
This essay examines the significance of the flood as a place in the works of Bob Dylan Dylan, Bob. 2004. Chronicles, Volume One, New York: Simon & Schuster. [Google Scholar]. Through a consideration of the songs “Down in the Flood,” “High Water,” and “The Levee's Gonna Break” as reflections of the biblical flood, the 1927 Mississippi flood, and Hurricane Katrina, this essay interrogates the question of origins in Dylan's songwriting, using a Derr…
Skeletons Sail an Etheric Ocean
Different critical approaches to the conception of the ghost either emphasize history, especially traumatic history, as a shadowy half-presence in the present, or else they treat the ghost as a by-product of the gaps technologies of transmission and recording create between the spirit and the body. The author argues that both conceptions of the ghost are evident in John Carpenter's The Fog (1980) and that they prove highly reconcilable. He also d…
Forget Peter Vincent
Fright Night (1985) is a nostalgic and self-reflexive vampire film, made at a moment when the vampire subgenre seemed increasingly irrelevant. It tries to rejuvenate the vampire film by adhering to its classical conventions and updating them for a new audience at the same time. The film reflects on its place within its genre, developing these themes mainly through the characters of Peter Vincent, the former "Great Vampire Killer" of the movies wh…
M. Robert‐Houdin goes to Algeria
In 1856, Jean Eugène Robert‐Houdin, the great legitimizer of stage magic, was dispatched to Algeria in service of the French government to perform before tribal assemblies. It was hoped that exposure to French magic would undermine the influence of their own miracle workers, the Marabout. Robert‐Houdin’s widely disseminated memoirs describe him cowing the Arabs into terror with his illusions, all the better to educate them. This essay draws compa…
Collective Screams
Dylan's Floods
This essay examines the significance of the flood as a place in the works of Bob Dylan Dylan, Bob. 2004. Chronicles, Volume One, New York: Simon & Schuster. [Google Scholar]. Through a consideration of the songs “Down in the Flood,” “High Water,” and “The Levee's Gonna Break” as reflections of the biblical flood, the 1927 Mississippi flood, and Hurricane Katrina, this essay interrogates the question of origins in Dylan's songwriting, using a Derr…
Skeletons Sail an Etheric Ocean
Different critical approaches to the conception of the ghost either emphasize history, especially traumatic history, as a shadowy half-presence in the present, or else they treat the ghost as a by-product of the gaps technologies of transmission and recording create between the spirit and the body. The author argues that both conceptions of the ghost are evident in John Carpenter's The Fog (1980) and that they prove highly reconcilable. He also d…
Forget Peter Vincent
Fright Night (1985) is a nostalgic and self-reflexive vampire film, made at a moment when the vampire subgenre seemed increasingly irrelevant. It tries to rejuvenate the vampire film by adhering to its classical conventions and updating them for a new audience at the same time. The film reflects on its place within its genre, developing these themes mainly through the characters of Peter Vincent, the former "Great Vampire Killer" of the movies wh…
M. Robert‐Houdin goes to Algeria
In 1856, Jean Eugène Robert‐Houdin, the great legitimizer of stage magic, was dispatched to Algeria in service of the French government to perform before tribal assemblies. It was hoped that exposure to French magic would undermine the influence of their own miracle workers, the Marabout. Robert‐Houdin’s widely disseminated memoirs describe him cowing the Arabs into terror with his illusions, all the better to educate them. This essay draws compa…
Collective Screams
Haunting and Minstrelsy in Bob Dylan's Masked and Anonymous
This article explores the ghost minstrel Oscar Vogel from Bob Dylan's film Masked and Anonymous. It sees Vogel both as a facet of the film's commentary on how war, slavery, and racism haunt America and as a refraction of how Dylan's star persona filtered a variety of different influences
X-Ray (1981), the Final Woman, and the Medical Slasher Film
This essay discusses the declining academic and continued popular currency of Carol J. Clover's concept of the Final Girl, and examines the term through X-Ray or Hospital Massacre (1981), a film of the first slasher cycle with a more mature protagonist than most. It extends Clover's ideas by showing how X-Ray is heavily concerned with medical issues, in particular the Foucauldian "medical gaze." The titular X-ray becomes a structural model for th…
ReFocus
Horror Film
Throughout the history of cinema, horror has proven to be a genre of consistent popularity, which adapts to different cultural contexts while retaining a recognizable core. Horror Film: A Critical Introduction, the newest in Bloomsbury's Film Genre series, balances the discussions of horror’s history, theory, and aesthetics as no introductory book ever has. Featuring studies of films both obscure and famous, Horror Film is international in its sc…
David Cronenberg
Art (8 works) · Art history (6 works) · Cinema and Media Studies (6 works) · History (5 works) · History (5 works) · Literature (5 works) · Aesthetics (4 works) · Psychology (4 works) · Gothic Literature and Media Analysis (3 works) · Psychoanalysis (3 works)