Triaging the academy: torch-bearing for Eurohorror in a spontaneous generation

This study gives attention to a timeline and the development of critical scrutiny applied to
European horror films, especially as defined by the term, Eurohorror, and their symbiotic
relationship with European art house cinema. In adopting the methodology of a cultural historian,
as defined by James Chapman, together with elements of a vernacular scholar, as defined by
Thomas McLaughlin, and establishing the previously limited range of critical coverage of such
films, I reflect upon how my own published work in this area, primarily from 1993 - 2008.
Examples of my influence on the scholarly discourse surrounding Eurohorror films, which helped
bridge the gap between fan writing and scholarship, thus enabling academic researchers to
embrace Eurohorror film study, underpins the thesis, together with my dual contribution in this
field both as writer and publisher.

By discussing the spontaneous generation of film critics whose discourse revolved around not
what films they had seen, but rather, what films they had been denied, I scrutinise the increasing
availability of films on video, together with the growth in film fanzines, to highlight an unholy trinity
of pivotal directors; Mario Bava, Jess Franco and Jean Rollin. In addition, I explore the correlation
between Eurohorror and European arthouse films.

Taking Matt Hills (2002) discourse revolving around fan academics and academic fans, Jeffrey
Sconce’s concept of paracinema (1995) and its increasing status in academia, together with both
David Sanjek’s (2000) observations on fanzine culture and Joan Hawkins (2000) theories on
Sleaze Mania, Euro-Trash, and High Art, I integrate my own earlier published work with those of
my contemporaries and illustrate a legacy as to how my own work is repeatedly used to progress
the narrative today.

I argue that by being in the vanguard of early English language writers, recognising the
importance of these hitherto neglected films, this has actively informed and influenced
subsequent writers and extended the scholarly discourse surrounding the European horror and
European art house genres. Where once such films were marginalised, they are now placed firmly
front and centre and afforded due critical consideration. That these films are now vaunted rather
than vilified, and subjected to the highest academic scrutiny, reveals a comprehensive reevaluation
that indeed signifies a triaging of the academy.