Kevin Heffernan
My blogs
| Gender | Male |
|---|---|
| Industry | Education |
| Location | Newark, Delaware, United States |
| Introduction | I'm Professor Emeritus in the Division of Film and Media Arts in the Meadows School of the Arts at Southern Methodist University in Dallas, Texas.My writings on horror movies, exploitation film, Italian, Scandinavian, and Hong Kong cinema, the transnational financing of feature films, and moving-image pornography have been published in many journals and anthologies. I'm the author of GHOULS, GIMMICKS, AND GOLD: HORROR FILMS AND THE AMERICAN MOVIED BUSINESS, 1952-1968 from Duke University Press. I was also associate producer and co-screenwriter of the documentary feature DIVINE TRASH, on the early career of John Waters, which won the Filmmakers Trophy at the 1998 Sundance Film Festival and is now included as an extra in the Criterion Collection's Blu ray box set of PINK FLAMINGOS. I am currently researching and writing a book on radio/podcast horror from the 1930s to the present day tentatively titled IT IS LATER THAN YOU THINK; preparing to launch a podcast version of THE CRAWLING EYE blog; and finally, I’m obsessively researching the history of professional football for a project I am not yet at liberty to discuss, |
| Interests | European and Asian cinema, exploitation film, horror movies, media industry studies, race, sexuality and gender in media, moving-image pornography, martial arts films, classical Hollywood cinema |
| Favorite movies | NIGHT OF THE LIVING DEAD (1968); Buster Keaton’s THE GOAT; GOLDFINGER; Vincent Price in THE ABOMINABLE DR. PHIBES and HOUSE ON HAUNTED HILL; FLESH AND THE DEVIL (1927); LE BRASIER ARDENT (1923); Alice Guy Blache’s Solax comedies; John Woo’s A BETTER TOMORROW (1986) and BULLET IN THE HEAD (1990); Jackie Chan's POLICE STORY 3: SUPERCOP; PEKING OPERA BLUES (1987); Anything starring Grace Chang, Cheng Pei-Pei, or Linda Lin Dai; FUNERAL PARADE OF ROSES; Miwa Nishikawa’s DREAMS FOR SALE; Tetsuji Takechi’s DAYDREAM (1964); Ozu's AUTUMN AFTERNOON; Mizoguchi's UGETSU and PRINCESS YANG KWAI FEI; Jen and Sylvia Soska’s AMERICAN MARY (2012); Seijun Suzuki's BRANDED TO KILL; MANIAC (1980); Orson Welles’ TOUCH OF EVIL and THE TRIAL; Renoir’s LA BÊTE HUMAINE and RULES OF THE GAME; Su Friedrich’s SINK OR SWIM; Anything directed by Emilio Fernández and/or starring Pedro Amandáriz; Alberto Gout’s THE ADVENTURESS (1950); Visconti's THE DAMNED; Juraz Herz's THE CREMATOR, Jaromil Jireš’ VALERIE AND HER WEEK OF WONDERS, SHIRI (1999); Kim Jee Woon’s THE QUIET FAMILY, THE FOUL KING, and A TALE OF TWO SISTERS; PARASITE (2019); Park Chan Wook’s VENGEANCE trilogy; Mario Bava’s LISA AND THE DEVIL; VERTIGO, PSYCHO, and REAR WINDOW; HIS GIRL FRIDAY; THE SEARCHERS; MY DARLING CLEMENTINE; THE TEXAS CHAINSAW MASSACRE (1974); Carolee Schneemann’s FUSES; ALICE, SWEET ALICE; Preston Sturges’ SULLIVAN’s TRAVELS and MIRACLE AT MORGAN’s CREEK; THE BLACK CAT (1933); The complete works of Maya Deren and Doris Wishman; Bertolucci’s THE CONFORMIST; SIN IN THE SUBURBS; AROUSED (1966); And, most of all, THE BRAIN THAT WOULDN’T DIE. XXX Cinema: 1001 EROTIC NIGHTS; BOTH WAYS; DESIRES WITHIN YOUNG GIRLS; BLONDE AMBITION; ROOMMATES; A NIGHT AT THE ADONIS (all-male), Anthony Spinelli’s SEX WORLD and THE SEDUCTION OF LYN CARTER; DEVIL IN MISS JONES; NEW WAVE HOOKERS; FASHIONISTAS; THE EXPERIMENT (all-male), Radley Metzger’s NAKED CAME THE STRANGER and THE OPENING OF MISTY BEETHOVEN; BIJOU (all-male). |
| Favorite music | Beethoven's fourth-eighth symphonies, Razumovsky Quartets, and Violin Concerto in D (Isaac Stern, soloist), Jimi Hendrix, Duke Ellington's solo piano work, The Clash, John Coltrane (Live in Paris and Village Vanguard tapes), Velvet Underground, David Bowie, Lou Reed, Iggy Pop (solo and with the Stooges) |
| Favorite books | CANDIDE (Voltaire), PSYCHOTIC REACTIONS AND CARBEURATOR DUNG (Lester Bangs), EXPOSITIONAL MODES AND TEMPORAL ORDER IN FICTION (Meir Sternberg) |