6pm Panel: The New Horror

  • 60 mins

From ‘torture porn’ to zombie comedy: what now defines this key commercial genre?

Buy all seven panels for £25.00 / £17.50. This offer is only available in person or over the phone on 0131 623 8030.

The panelists for this event are:

Muriel Gray – Chair
Journalist and broadcaster

Lizzie Francke
EIFF Artistic Director from 1997 – 2001, she is currently a Development Producer for the UK Film Council's Development fund. 

Alex Orr
Director of Blood Car (EIFF 2008)

Steven Sheil
Director of Mum and Dad (EIFF 2008)

Claudia Andrei
London correspondent for German-based MOVIESTAR and DVD SPECIAL magazine

Please see below the list of other panels in the series.

PRICE (PER PANEL): £5.00 (£3.50 concs)
BUY ALL SEVEN PANEL EVENTS FOR: £25.00 (£17.50 concs)

Landscape and Location

THU 19 JUNE 18:00
TRAVERSE 1
The physical placement of a film is critical. Here, experts in cinematography and locations reveal their secrets.

Contemporary Criticism

MON 23 JUNE 18:00
TRAVERSE 1
Does the internet sound the death knell for print criticism? Leading film critics explore the future of their industry.

Taking the Temperature of British Film

TUE 24 JUNE 18:00
TRAVERSE 1
The UK Film Council’s New Cinema Fund supported several films in this year’s EIFF (including Better Things; Donkey Punch; Man on Wire) Representatives of the fund will be there to discuss the current condition of UK cinema.

Positive Piracy?
WED 25 JUNE 18:00
TRAVERSE 1
Piracy hurts the industry. Yet the sharing of rare and cult film on the internet expands film education and creates new communities of enthusiasts … Debate the rights and wrongs with those who have a stake.

Animation
THU 26 JUNE 18:00
TRAVERSE 1
From Harryhausen’s skeletons to Corin Hardy’s groundbreaking music videos and Pixar’s WALL•E, this is a hot animation year at EIFF. Discuss this most fluid of forms with some of its exponents.

Documentary – The Facts and Fictions
FRI 27 JUNE 18:00
TRAVERSE 1
The documentary landscape has expanded in recent years. With ever more experimental forms, is the distinction between fact and fiction still clear in film?

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