Transnational studies of popular film genres too often impose a Hollywood-derived understanding of generic categories on another culture’s cinema, or else conceive of national genres as essentially separate from Hollywood’s hegemony.
In reassessing the cultural and political consciousness of Cundieff’s art, we may be tempted to rename the film’ Tales of the Undead’ because of the narrative intimacy Cundieff uses to reclaim the past — a past that is haunted, as Toni Morrison states elsewhere, by “signs, visitations, and ways of knowing that [encompass] more than concrete reality” (McKay 1983, 414).
In recent decades, the concept of identity and what constitutes human nature has been challenged by many scholars, who have perceived there to be a crisis to the previous humanist ideas based on man’s central position, and a belief in his exceptionalism.
The late 1980s and early 1990s witnessed a renewed interest in horror and dark fantasy series on TV. Emerging in part due to horror cinema’s most visible, grisly and commercially saturated decade, horror anthology shows such as ‘Tales from the Crypt’ (1989-96), Freddy’s Nightmares (1988-90) and the weird, gothic mystery ‘Twin Peaks’ (1990-91), all reveal a distinct shift in television production.