There is a body of films that feature
home invasions. Paula Marantz Cohen says, "Such films reflect an increased fear of the erosion of distinctions between private and public space... These films also reflect a sense that the outside world is more dangerous and unpredictable than ever before."[1] Home invasion films are commonly
thrillers and
horror films.[2] The home invasion subgenre goes as far back as
D. W. Griffith's 1909 film The Lonely Villa.[3]
This list only covers films containing actual or attempted home invasions, and does not include movies based around assaults on other places such as Assault on Precinct 13, which dealt with a police station being invaded, or intrusion under false pretenses, such as Orphan.
^The family film lampoons the element of home invasion, which is more common in thriller films.[60]
References
^
abcdefghCohen, Paula Marantz (2011). "Conceptual Suspense in Hitchcock's Films". In Leitch, Thomas; Poague, Leland (eds.). A Companion to Alfred Hitchcock. Wiley–Blackwell. p. 136.
ISBN978-1-4051-8538-7.
^
abcdeMacDonald, Alzena (2013). "'There's Blood on the Walls'". Murders and Acquisitions: Representations of the Serial Killer in Popular Culture. A&C Black. p. 184.
ISBN978-1-4411-7702-5.
^Welkos, Robert W. (June 25, 1996).
"Humor Too Dark for Its Own Good?". Los Angeles Times. Stiller and Apatow envisioned a satire of psycho-thrillers such as 'Cape Fear,' 'Unlawful Entry' and 'The Hand That Rocks the Cradle.'
^
abHark, Ina Rae (2003). "'Daddy, Where's the FBI Warning?': Constructing the Video Spectator". In Tinkcom, Matthew; Villarejo, Amy (eds.). Keyframes: Popular Cinema and Cultural Studies. Routledge. p. 76.
ISBN978-0-203-16519-5.
^Lacey, Liam (March 22, 2002).
"After 20 years, E.T. calls back". The Globe and Mail. Retrieved October 22, 2015. ...the climax of the movie involves a frightening home invasion of men dressed in masks and uniforms.
^Hutchings, Peter (2009). "'I'm the Girl He Wants to Kill': The 'Women in Peril' Thriller in 1970s British Film and Television". Visual Culture in Britain. 10 (1): 53–69.
doi:
10.1080/14714780802686571.
S2CID154946492.
^Mottram, James (2007). The Sundance Kids: How the Mavericks Took Back Hollywood. Faber & Faber. p. 368.
ISBN978-0-86547-967-8.
^Jacobson, Matthew Frye; Gonzalez, Gaspar (2006). What Have They Built You to Do?: The Manchurian Candidate and Cold War America. University of Minnesota Press. p. 67.
ISBN978-0-8166-4124-6.
^Hicks, Heather J. (2008). The Culture of Soft Work: Labor, Gender, and Race in Postmodern American Narrative. Palgrave Macmillan. p. 180.
ISBN978-0-230-60823-8.
There is a body of films that feature
home invasions. Paula Marantz Cohen says, "Such films reflect an increased fear of the erosion of distinctions between private and public space... These films also reflect a sense that the outside world is more dangerous and unpredictable than ever before."[1] Home invasion films are commonly
thrillers and
horror films.[2] The home invasion subgenre goes as far back as
D. W. Griffith's 1909 film The Lonely Villa.[3]
This list only covers films containing actual or attempted home invasions, and does not include movies based around assaults on other places such as Assault on Precinct 13, which dealt with a police station being invaded, or intrusion under false pretenses, such as Orphan.
^The family film lampoons the element of home invasion, which is more common in thriller films.[60]
References
^
abcdefghCohen, Paula Marantz (2011). "Conceptual Suspense in Hitchcock's Films". In Leitch, Thomas; Poague, Leland (eds.). A Companion to Alfred Hitchcock. Wiley–Blackwell. p. 136.
ISBN978-1-4051-8538-7.
^
abcdeMacDonald, Alzena (2013). "'There's Blood on the Walls'". Murders and Acquisitions: Representations of the Serial Killer in Popular Culture. A&C Black. p. 184.
ISBN978-1-4411-7702-5.
^Welkos, Robert W. (June 25, 1996).
"Humor Too Dark for Its Own Good?". Los Angeles Times. Stiller and Apatow envisioned a satire of psycho-thrillers such as 'Cape Fear,' 'Unlawful Entry' and 'The Hand That Rocks the Cradle.'
^
abHark, Ina Rae (2003). "'Daddy, Where's the FBI Warning?': Constructing the Video Spectator". In Tinkcom, Matthew; Villarejo, Amy (eds.). Keyframes: Popular Cinema and Cultural Studies. Routledge. p. 76.
ISBN978-0-203-16519-5.
^Lacey, Liam (March 22, 2002).
"After 20 years, E.T. calls back". The Globe and Mail. Retrieved October 22, 2015. ...the climax of the movie involves a frightening home invasion of men dressed in masks and uniforms.
^Hutchings, Peter (2009). "'I'm the Girl He Wants to Kill': The 'Women in Peril' Thriller in 1970s British Film and Television". Visual Culture in Britain. 10 (1): 53–69.
doi:
10.1080/14714780802686571.
S2CID154946492.
^Mottram, James (2007). The Sundance Kids: How the Mavericks Took Back Hollywood. Faber & Faber. p. 368.
ISBN978-0-86547-967-8.
^Jacobson, Matthew Frye; Gonzalez, Gaspar (2006). What Have They Built You to Do?: The Manchurian Candidate and Cold War America. University of Minnesota Press. p. 67.
ISBN978-0-8166-4124-6.
^Hicks, Heather J. (2008). The Culture of Soft Work: Labor, Gender, and Race in Postmodern American Narrative. Palgrave Macmillan. p. 180.
ISBN978-0-230-60823-8.