Style and Form in the Hollywood Slasher Film fills a broad scholastic gap by analysing the elements of narrative and stylistic construction of films in the slasher subgenre of horror that have been produced and/or distributed in the Hollywood studio system from its initial boom in the late 1970s to the present.

List of Figures and TablesNotes on ContributorsAcknowledgmentsintroduction: The Collection AwakesPART I: THE BIRTH, DEATH, AND RESURRECTION OF THE SLASHER FILM1. (In)Stability of Point of View in and ; David Roche2. Undermining the Moneygrubbers, or: How I learned to stop worrying and love ; Wickham Clayton3. I Framed Freddy: Functional Aesthetics in the Series; Karra Shimabukuro4. and : Re-imagining the Slasher Film Through Urban Gothic; Stacey AbbottPART II: OLDER, DARKER, AND SELF-AWARE5. Franchise Legacy and Neo-Slasher Conventions in ; Andrew Patrick Nelson6. Roses are Red, Violence is Too: Exploring Stylistic Excess in ; Mark Richard Adams7. Puzzles, Contraptions, and the Highly Elaborate Moment: The Inevitability of Death in the Grand Slasher Narratives of the and Series of Films; Ian Conrich8. The Killer Who Never Was: Complex Storytelling, the Series, and the Shifting Moral Alignment of Puzzle Film Horror; Matthew Freeman9. Resurrecting ; Gary BettinsonPART III: FORM VS. THEORY10. Parody, Pastiche and Intertextuality in : Formal and Theoretical Approaches to the Postmodern Slasher; Fran Pheasant-Kelly11. Crises of Identification in the Supernatural Slasher: The Resurrection of the Supernatural Slasher Villain; Jessica Balanzategui12. Queer Erotic Aesthetics in Marcus Nispel's (2003); Darren Elliott-Smith13. Beyond Surveillance: Questions of the Real in the Neo-postmodern Horror Film; Dana Och14. The Slasher, the Final Girl, and the Anti-Denouement; Janet StaigerIndex