Linnie Blake
- Published in print:
- 2008
- Published Online:
- July 2012
- ISBN:
- 9780719075933
- eISBN:
- 9781781700914
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719075933.001.0001
- Subject:
- Film, Television and Radio, Film
This book explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has ...
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This book explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves both as gendered individuals and as members of a particular nation-state. Exploring a wide range of stylistically distinctive and generically diverse film texts, its analysis ranges from the body horror of the American 1970s to the avant-garde proclivities of German Reunification horror, from the vengeful supernaturalism of recent Japanese chillers and their American remakes to the post-Thatcherite masculinity horror of the UK and the resurgence of hillbilly horror in the period following 9/11 USA. In each case, it is argued that horror cinema forces us to look again at the wounds inflicted on individuals, families, communities and nations by traumatic events such as genocide and war, terrorist outrage and seismic political change, wounds that are all too often concealed beneath ideologically expedient discourses of national cohesion. Thus proffering a radical critique of the nation-state and the ideologies of identity it promulgates, horror cinema is seen to offer us a disturbing, yet perversely life affirming, means of working through the traumatic legacy of recent times.Less
This book explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves both as gendered individuals and as members of a particular nation-state. Exploring a wide range of stylistically distinctive and generically diverse film texts, its analysis ranges from the body horror of the American 1970s to the avant-garde proclivities of German Reunification horror, from the vengeful supernaturalism of recent Japanese chillers and their American remakes to the post-Thatcherite masculinity horror of the UK and the resurgence of hillbilly horror in the period following 9/11 USA. In each case, it is argued that horror cinema forces us to look again at the wounds inflicted on individuals, families, communities and nations by traumatic events such as genocide and war, terrorist outrage and seismic political change, wounds that are all too often concealed beneath ideologically expedient discourses of national cohesion. Thus proffering a radical critique of the nation-state and the ideologies of identity it promulgates, horror cinema is seen to offer us a disturbing, yet perversely life affirming, means of working through the traumatic legacy of recent times.
Jason C. Bivins
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195340815
- eISBN:
- 9780199867158
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340815.003.0002
- Subject:
- Religion, Religion and Society
This chapter establishes four contextual factors shaping the Religion of Fear: the history of evangelicalism, political fear, American Christian demonology, and the evangelical mediascape. By ...
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This chapter establishes four contextual factors shaping the Religion of Fear: the history of evangelicalism, political fear, American Christian demonology, and the evangelical mediascape. By situating the Religion of Fear historically and comparing it with both political fear and earlier forms of demonology, this chapter reveals its specific contours. The chapter examines the fearful qualities of religion. It then describes the emergence of evangelicalism within a cluster of concerns to establish religious identity against fearful Others. This chapter next describes the way in which elements of horror and the Gothic resonate with religious strategies of alterity. The chapter concludes by describing the evangelical culture industry, which is part of the work on religious identities.Less
This chapter establishes four contextual factors shaping the Religion of Fear: the history of evangelicalism, political fear, American Christian demonology, and the evangelical mediascape. By situating the Religion of Fear historically and comparing it with both political fear and earlier forms of demonology, this chapter reveals its specific contours. The chapter examines the fearful qualities of religion. It then describes the emergence of evangelicalism within a cluster of concerns to establish religious identity against fearful Others. This chapter next describes the way in which elements of horror and the Gothic resonate with religious strategies of alterity. The chapter concludes by describing the evangelical culture industry, which is part of the work on religious identities.
Jason C. Bivins
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195340815
- eISBN:
- 9780199867158
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340815.003.0005
- Subject:
- Religion, Religion and Society
The subject of this chapter is the growing popularity of Christian alternatives to Halloween haunted houses. The most famous of these is Keenan Roberts's Hell House, a multiscene morality play that ...
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The subject of this chapter is the growing popularity of Christian alternatives to Halloween haunted houses. The most famous of these is Keenan Roberts's Hell House, a multiscene morality play that uses the techniques of horror entertainment to illustrate both a general and a specific narrative of social and political decline. These phenomena became very popular — attracting the attention of both supporters and critics — and explicitly engage the hot‐button political issues central to New Christian Right activism and organizing. Hell Houses' individual scenes illustrate to adolescents the harms (such as abortion, gay weddings, and school shootings) awaiting them in a society that — nominally committed to tolerance and social harmony — has unwittingly drawn them toward hellfire.Less
The subject of this chapter is the growing popularity of Christian alternatives to Halloween haunted houses. The most famous of these is Keenan Roberts's Hell House, a multiscene morality play that uses the techniques of horror entertainment to illustrate both a general and a specific narrative of social and political decline. These phenomena became very popular — attracting the attention of both supporters and critics — and explicitly engage the hot‐button political issues central to New Christian Right activism and organizing. Hell Houses' individual scenes illustrate to adolescents the harms (such as abortion, gay weddings, and school shootings) awaiting them in a society that — nominally committed to tolerance and social harmony — has unwittingly drawn them toward hellfire.
Laura Helen Marks
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780252042140
- eISBN:
- 9780252050886
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042140.001.0001
- Subject:
- Film, Television and Radio, Film
This book argues that pornographic film relies on a particular "Victorianness" in generating eroticism—a Gothic Victorianness that is monstrous and restrained, repressed but also perverse, static but ...
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This book argues that pornographic film relies on a particular "Victorianness" in generating eroticism—a Gothic Victorianness that is monstrous and restrained, repressed but also perverse, static but also transformative, and preoccupied with gender, sexuality, race, and time. Pornographic films enthusiastically expose the perceived hypocrisy of this Victorianness, rhetorically equating it with mainstream, legitimate culture, as a way of staging pornography’s alleged sexual authenticity and transgressive nature. Through an analysis of porn set during the nineteenth century and porn adaptations of Lewis Carroll’s Alice books, Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, Oscar Wilde’s The Picture of Dorian Gray, and Bram Stoker’s Dracula, this book shows how these adaptations expose the implicit pornographic aspects of “legitimate” culture while also revealing the extent to which “high” and “low” genres rely on each other for self-definition. In the process, neo-Victorian pornographies draw on Gothic spaces and icons in order to situate itself as this Gothic other, utilizing the Gothic and the monstrous to craft a transformative, pornographic space. These neo-Victorian Gothic pornographies expose the way the genre as a whole emphasizes, navigates, transgresses, and renegotiates gender, sexuality, and race through the lens of history and legacy.Less
This book argues that pornographic film relies on a particular "Victorianness" in generating eroticism—a Gothic Victorianness that is monstrous and restrained, repressed but also perverse, static but also transformative, and preoccupied with gender, sexuality, race, and time. Pornographic films enthusiastically expose the perceived hypocrisy of this Victorianness, rhetorically equating it with mainstream, legitimate culture, as a way of staging pornography’s alleged sexual authenticity and transgressive nature. Through an analysis of porn set during the nineteenth century and porn adaptations of Lewis Carroll’s Alice books, Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, Oscar Wilde’s The Picture of Dorian Gray, and Bram Stoker’s Dracula, this book shows how these adaptations expose the implicit pornographic aspects of “legitimate” culture while also revealing the extent to which “high” and “low” genres rely on each other for self-definition. In the process, neo-Victorian pornographies draw on Gothic spaces and icons in order to situate itself as this Gothic other, utilizing the Gothic and the monstrous to craft a transformative, pornographic space. These neo-Victorian Gothic pornographies expose the way the genre as a whole emphasizes, navigates, transgresses, and renegotiates gender, sexuality, and race through the lens of history and legacy.
Robert C. Solomon
- Published in print:
- 2004
- Published Online:
- November 2004
- ISBN:
- 9780195145502
- eISBN:
- 9780199834969
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/019514550X.003.0005
- Subject:
- Philosophy, Philosophy of Mind
Horror is not the same as fear, and while fear contains an essential action tendency horror does not. And while we can enjoy fear (as Aristotle argued in our viewing of tragic theater) there is no ...
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Horror is not the same as fear, and while fear contains an essential action tendency horror does not. And while we can enjoy fear (as Aristotle argued in our viewing of tragic theater) there is no enjoying of horror.Less
Horror is not the same as fear, and while fear contains an essential action tendency horror does not. And while we can enjoy fear (as Aristotle argued in our viewing of tragic theater) there is no enjoying of horror.
Fred Botting
- Published in print:
- 2011
- Published Online:
- July 2012
- ISBN:
- 9780719077548
- eISBN:
- 9781781701904
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719077548.001.0001
- Subject:
- Literature, Criticism/Theory
Horror is not what it used to be. Nor are its Gothic avatars. The meaning of monsters, vampires and ghosts has changed significantly over the last 200 years, as have the mechanisms (from fiction to ...
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Horror is not what it used to be. Nor are its Gothic avatars. The meaning of monsters, vampires and ghosts has changed significantly over the last 200 years, as have the mechanisms (from fiction to fantasmagoria, film and video games) through which they are produced and consumed. This book, moving from gothic to cybergothic, through technological modernity and across a range of literary, cinematic and popular cultural texts, critically examines these changes and the questions they pose for understanding contemporary culture and subjectivity. Re-examining key concepts such as the uncanny, the sublime, terror, shock and abjection in terms of their bodily and technological implications, it advances current critical and theoretical debates on Gothic horror to propose a new theory of cultural production based on an extensive discussion of Sigmund Freud's idea of the death drive.Less
Horror is not what it used to be. Nor are its Gothic avatars. The meaning of monsters, vampires and ghosts has changed significantly over the last 200 years, as have the mechanisms (from fiction to fantasmagoria, film and video games) through which they are produced and consumed. This book, moving from gothic to cybergothic, through technological modernity and across a range of literary, cinematic and popular cultural texts, critically examines these changes and the questions they pose for understanding contemporary culture and subjectivity. Re-examining key concepts such as the uncanny, the sublime, terror, shock and abjection in terms of their bodily and technological implications, it advances current critical and theoretical debates on Gothic horror to propose a new theory of cultural production based on an extensive discussion of Sigmund Freud's idea of the death drive.
Ann Davies
- Published in print:
- 2009
- Published Online:
- July 2012
- ISBN:
- 9780719073649
- eISBN:
- 9781781702093
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719073649.001.0001
- Subject:
- Film, Television and Radio, Film
Daniel Calparsoro, a director who has contributed to the contemporary scene in Spanish and Basque cinema, has provoked strong reactions from the critics. Reductively dismissed as a purveyor of crude ...
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Daniel Calparsoro, a director who has contributed to the contemporary scene in Spanish and Basque cinema, has provoked strong reactions from the critics. Reductively dismissed as a purveyor of crude violence by those critics lamenting a ‘lost golden age’ of Spanish filmmaking, Calparsoro's films reveal in fact a more complex interaction with trends and traditions in both Spanish and Hollywood cinema. This book is a full-length study of the director's work, from his early social realist films set in the Basque Country to his later forays into the genres of the war and horror film. It offers an in-depth film-by-film analysis, while simultaneously exploring the function of the director in the contemporary Spanish context, the tension between directors and critics, and the question of national cinema in an area—the Basque Country—of heightened national and regional sensitivities.Less
Daniel Calparsoro, a director who has contributed to the contemporary scene in Spanish and Basque cinema, has provoked strong reactions from the critics. Reductively dismissed as a purveyor of crude violence by those critics lamenting a ‘lost golden age’ of Spanish filmmaking, Calparsoro's films reveal in fact a more complex interaction with trends and traditions in both Spanish and Hollywood cinema. This book is a full-length study of the director's work, from his early social realist films set in the Basque Country to his later forays into the genres of the war and horror film. It offers an in-depth film-by-film analysis, while simultaneously exploring the function of the director in the contemporary Spanish context, the tension between directors and critics, and the question of national cinema in an area—the Basque Country—of heightened national and regional sensitivities.
Mary Douglas
- Published in print:
- 2004
- Published Online:
- January 2005
- ISBN:
- 9780199265237
- eISBN:
- 9780191602054
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0199265232.003.0009
- Subject:
- Religion, Biblical Studies
Focuses on the absence of ancestor cults in the Bible, and notes that the ground already covered in the book indicates that the priestly editors of the Pentateuch in the sixth and fifth centuries ...
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Focuses on the absence of ancestor cults in the Bible, and notes that the ground already covered in the book indicates that the priestly editors of the Pentateuch in the sixth and fifth centuries bce, and their interpretation of monotheism, make it unlikely that there would have been room for such an idea. Considers the limited role of the dead in biblical Israel in the context of the major advance that was monotheism, and asks whether Leviticus represents a Utopian religion or a real one that was actually practiced in the past, emphasizing the intellectual consistency of the Pentateuch in its uncompromising monotheism. The question is asked as to whether Israel ever had an ancestral cult, and the biblical evidence against such a cult is reviewed. The possible benefits of an ancestor cult in taking the blame are discussed, along with some alternative views to this (notably, the horror of death), and the possibility of the forcible suppression of ancestor cults as part of a centralizing government programme (here certain parallels are drawn with other cultures, and the cult of purgatory is discussed). Other ways in which cults of the dead can fade are discussed in the last part of the chapter; these include the secularizing effect of modernization, intergenerational tension, the character of the resource base in relation to the fate of ancestor cults (as illustrated by religious dynamism in the Calabari Delta of Nigeria), religious change instigated by changing regimes in which either the old or the young may become ascendant, and the position of eighth‐century Israel as having everything that would favour a revolt by the young – thus setting a trail for the priestly editors that had been laid centuries before, and embodied the central doctrine of monotheism.Less
Focuses on the absence of ancestor cults in the Bible, and notes that the ground already covered in the book indicates that the priestly editors of the Pentateuch in the sixth and fifth centuries bce, and their interpretation of monotheism, make it unlikely that there would have been room for such an idea. Considers the limited role of the dead in biblical Israel in the context of the major advance that was monotheism, and asks whether Leviticus represents a Utopian religion or a real one that was actually practiced in the past, emphasizing the intellectual consistency of the Pentateuch in its uncompromising monotheism. The question is asked as to whether Israel ever had an ancestral cult, and the biblical evidence against such a cult is reviewed. The possible benefits of an ancestor cult in taking the blame are discussed, along with some alternative views to this (notably, the horror of death), and the possibility of the forcible suppression of ancestor cults as part of a centralizing government programme (here certain parallels are drawn with other cultures, and the cult of purgatory is discussed). Other ways in which cults of the dead can fade are discussed in the last part of the chapter; these include the secularizing effect of modernization, intergenerational tension, the character of the resource base in relation to the fate of ancestor cults (as illustrated by religious dynamism in the Calabari Delta of Nigeria), religious change instigated by changing regimes in which either the old or the young may become ascendant, and the position of eighth‐century Israel as having everything that would favour a revolt by the young – thus setting a trail for the priestly editors that had been laid centuries before, and embodied the central doctrine of monotheism.
Mary Shelley
David H. Guston, Ed Finn, and Jason Scott Robert (eds)
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780262533287
- eISBN:
- 9780262340267
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262533287.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
Mary Shelley’s Frankenstein has endured in the popular imagination for two hundred years. Begun as a ghost story by an intellectually and socially precocious eighteen-year-old author during a cold ...
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Mary Shelley’s Frankenstein has endured in the popular imagination for two hundred years. Begun as a ghost story by an intellectually and socially precocious eighteen-year-old author during a cold and rainy summer on the shores of Lake Geneva, the dramatic tale of Victor Frankenstein and his stitched-together creature can be read as the ultimate parable of scientific hubris. Victor, “the modern Prometheus,” tried to do what he perhaps should have left to Nature: create life. Although the novel is most often discussed in literary-historical terms—as a seminal example of romanticism or as a groundbreaking early work of science fiction—Mary Shelley was keenly aware of contemporary scientific developments and incorporated them into her story. In our era of synthetic biology, artificial intelligence, robotics, and climate engineering, this edition of Frankenstein will resonate forcefully for readers with a background or interest in science and engineering, and anyone intrigued by the fundamental questions of creativity and responsibility. This edition of Frankenstein pairs the original 1818 version of the manuscript—meticulously line-edited and amended by Charles E. Robinson, one of the world’s preeminent authorities on the text—with annotations and essays by leading scholars exploring the social and ethical aspects of scientific creativity raised by this remarkable story. The result is a unique and accessible edition of one of the most thought-provoking and influential novels ever written. Essays by Elizabeth Bear, Cory Doctorow, Heather E. Douglas, Josephine Johnston, Kate MacCord, Jane Maienschein, Anne K. Mellor, Alfred NordmannLess
Mary Shelley’s Frankenstein has endured in the popular imagination for two hundred years. Begun as a ghost story by an intellectually and socially precocious eighteen-year-old author during a cold and rainy summer on the shores of Lake Geneva, the dramatic tale of Victor Frankenstein and his stitched-together creature can be read as the ultimate parable of scientific hubris. Victor, “the modern Prometheus,” tried to do what he perhaps should have left to Nature: create life. Although the novel is most often discussed in literary-historical terms—as a seminal example of romanticism or as a groundbreaking early work of science fiction—Mary Shelley was keenly aware of contemporary scientific developments and incorporated them into her story. In our era of synthetic biology, artificial intelligence, robotics, and climate engineering, this edition of Frankenstein will resonate forcefully for readers with a background or interest in science and engineering, and anyone intrigued by the fundamental questions of creativity and responsibility. This edition of Frankenstein pairs the original 1818 version of the manuscript—meticulously line-edited and amended by Charles E. Robinson, one of the world’s preeminent authorities on the text—with annotations and essays by leading scholars exploring the social and ethical aspects of scientific creativity raised by this remarkable story. The result is a unique and accessible edition of one of the most thought-provoking and influential novels ever written. Essays by Elizabeth Bear, Cory Doctorow, Heather E. Douglas, Josephine Johnston, Kate MacCord, Jane Maienschein, Anne K. Mellor, Alfred Nordmann
Linnie Blake
- Published in print:
- 2008
- Published Online:
- July 2012
- ISBN:
- 9780719075933
- eISBN:
- 9781781700914
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719075933.003.0009
- Subject:
- Film, Television and Radio, Film
This chapter reveals that this study is engaged with a number of debates drawn from horror film scholarship, trauma theory, post-colonial studies and cultural studies. This chapter also discusses ...
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This chapter reveals that this study is engaged with a number of debates drawn from horror film scholarship, trauma theory, post-colonial studies and cultural studies. This chapter also discusses that horror cinema's specific sub-genres, such as the onryou, the necrophiliac romance, the hillbilly horror adventure and others have been shown not only to allow for a mediated engagement with acts so disgusting or violent that their real-life realisation would be socially and psychologically unacceptable, but for a re-creation, re-visitation or re-conceptualisation of traumatic memories that lie buried deep within the national psyche; memories themselves so outrageous that their very actuality as past events appears a logical impossibility. Within a traumatised culture in which hegemonic conceptions of national identity are loudly contested by dissenting groups whose challenges are nonetheless marginalised or suppressed by their economic and political masters, horror cinema can be seen to fulfill an additional function. This chapter highlights how horror cinema's socially engaged deployment of humorous pastiche and affectionate parody might bring forth a new form of subjectivity from the trauma of the past, unbinding the wounds of the nation and in so doing offering them the opportunity to heal.Less
This chapter reveals that this study is engaged with a number of debates drawn from horror film scholarship, trauma theory, post-colonial studies and cultural studies. This chapter also discusses that horror cinema's specific sub-genres, such as the onryou, the necrophiliac romance, the hillbilly horror adventure and others have been shown not only to allow for a mediated engagement with acts so disgusting or violent that their real-life realisation would be socially and psychologically unacceptable, but for a re-creation, re-visitation or re-conceptualisation of traumatic memories that lie buried deep within the national psyche; memories themselves so outrageous that their very actuality as past events appears a logical impossibility. Within a traumatised culture in which hegemonic conceptions of national identity are loudly contested by dissenting groups whose challenges are nonetheless marginalised or suppressed by their economic and political masters, horror cinema can be seen to fulfill an additional function. This chapter highlights how horror cinema's socially engaged deployment of humorous pastiche and affectionate parody might bring forth a new form of subjectivity from the trauma of the past, unbinding the wounds of the nation and in so doing offering them the opportunity to heal.
Johnny Walker
- Published in print:
- 2015
- Published Online:
- May 2018
- ISBN:
- 9780748689736
- eISBN:
- 9781474416009
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748689736.001.0001
- Subject:
- Film, Television and Radio, Film
Combining industrial research and primary interview material with detailed textual analysis, Contemporary British Horror Cinema looks beyond the dominant paradigms which have explained away British ...
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Combining industrial research and primary interview material with detailed textual analysis, Contemporary British Horror Cinema looks beyond the dominant paradigms which have explained away British horror in the past, and sheds light on one of the most dynamic and distinctive – yet scarcely talked about – areas of contemporary British film production. Considering high-profile theatrical releases, including The Descent, Shaun of the Dead and The Woman in Black, as well as more obscure films such as The Devil’s Chair, Resurrecting the Street Walker and Cherry Tree Lane, Contemporary British Horror Cinema provides a thorough examination of British horror film production in the twenty-first century.Less
Combining industrial research and primary interview material with detailed textual analysis, Contemporary British Horror Cinema looks beyond the dominant paradigms which have explained away British horror in the past, and sheds light on one of the most dynamic and distinctive – yet scarcely talked about – areas of contemporary British film production. Considering high-profile theatrical releases, including The Descent, Shaun of the Dead and The Woman in Black, as well as more obscure films such as The Devil’s Chair, Resurrecting the Street Walker and Cherry Tree Lane, Contemporary British Horror Cinema provides a thorough examination of British horror film production in the twenty-first century.
L. Andrew Cooper
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252037092
- eISBN:
- 9780252094385
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037092.001.0001
- Subject:
- Film, Television and Radio, Film
Commanding a cult following among horror fans, Italian film director Dario Argento is best known for his work in two closely related genres, the crime thriller and supernatural horror. In his four ...
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Commanding a cult following among horror fans, Italian film director Dario Argento is best known for his work in two closely related genres, the crime thriller and supernatural horror. In his four decades of filmmaking, Argento has displayed a commitment to innovation, from his directorial debut with 1970's suspense thriller The Bird with the Crystal Plumage to 2009's Giallo. His films, like the lurid yellow-covered murder-mystery novels they are inspired by, follow the suspense tradition of hard-boiled American detective fiction while incorporating baroque scenes of violence and excess. The book uses controversies and theories about the films' reflections on sadism, gender, sexuality, psychoanalysis, aestheticism, and genre to declare the anti-rational logic of Argento's oeuvre. Approaching the films as rhetorical statements made through extremes of sound and vision, the book places Argento in a tradition of aestheticized horror that includes Marquis de Sade, Thomas De Quincey, Edgar Allan Poe, and Alfred Hitchcock. It reveals how the director's stylistic excesses, often condemned for glorifying misogyny and other forms of violence, offer productive resistance to the cinema's visual, narrative, and political norms.Less
Commanding a cult following among horror fans, Italian film director Dario Argento is best known for his work in two closely related genres, the crime thriller and supernatural horror. In his four decades of filmmaking, Argento has displayed a commitment to innovation, from his directorial debut with 1970's suspense thriller The Bird with the Crystal Plumage to 2009's Giallo. His films, like the lurid yellow-covered murder-mystery novels they are inspired by, follow the suspense tradition of hard-boiled American detective fiction while incorporating baroque scenes of violence and excess. The book uses controversies and theories about the films' reflections on sadism, gender, sexuality, psychoanalysis, aestheticism, and genre to declare the anti-rational logic of Argento's oeuvre. Approaching the films as rhetorical statements made through extremes of sound and vision, the book places Argento in a tradition of aestheticized horror that includes Marquis de Sade, Thomas De Quincey, Edgar Allan Poe, and Alfred Hitchcock. It reveals how the director's stylistic excesses, often condemned for glorifying misogyny and other forms of violence, offer productive resistance to the cinema's visual, narrative, and political norms.
Chi-Yun Shin
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9789622099722
- eISBN:
- 9789882207028
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099722.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter examines the “Asia Extreme” label of London-based Tartan Films and its relation with recent East Asian horror films. It examines Tartan's marketing strategies and its aspiration to ...
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This chapter examines the “Asia Extreme” label of London-based Tartan Films and its relation with recent East Asian horror films. It examines Tartan's marketing strategies and its aspiration to expand to global markets including the U.S. It focuses on its horror titles, not only because they have become the most prominent and leading examples of the label, but also because the rise of Asia Extreme has coincided with the phenomenal success of “Asian horror” with branches such as “J-horror” and “K-horror,” which have been celebrated as producing the most original and innovative horror movies of the last decade. It examines the critical reception of the most “notorious” Asia Extreme titles —Audition, The Isle, and Oldboy in the UK and the US to understand the different discourses through which the Asia Extreme films are evaluated and mediated.Less
This chapter examines the “Asia Extreme” label of London-based Tartan Films and its relation with recent East Asian horror films. It examines Tartan's marketing strategies and its aspiration to expand to global markets including the U.S. It focuses on its horror titles, not only because they have become the most prominent and leading examples of the label, but also because the rise of Asia Extreme has coincided with the phenomenal success of “Asian horror” with branches such as “J-horror” and “K-horror,” which have been celebrated as producing the most original and innovative horror movies of the last decade. It examines the critical reception of the most “notorious” Asia Extreme titles —Audition, The Isle, and Oldboy in the UK and the US to understand the different discourses through which the Asia Extreme films are evaluated and mediated.
Mathias Clasen
- Published in print:
- 2017
- Published Online:
- October 2017
- ISBN:
- 9780190666507
- eISBN:
- 9780190666545
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190666507.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
This book explains the appeals and functions of horror entertainment by drawing on cutting-edge findings in the evolutionary social sciences, showing how the horror genre is a product of human ...
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This book explains the appeals and functions of horror entertainment by drawing on cutting-edge findings in the evolutionary social sciences, showing how the horror genre is a product of human nature. It is the first book to integrate the study of horror with the sciences of human nature and to offer a sustained analysis of the ways in which our evolutionary heritage constrains and directs horror in literature, film, and computer games. The central claim of the book is that horror entertainment works by targeting ancient and deeply conserved neurobiological mechanisms. We are attracted to horrifying entertainment because we have an adaptive tendency to find pleasure in make-believe that allows us to experience negative emotions at high levels of intensity within a safe context. This book offers a detailed theoretical account of the biological underpinnings of the paradoxically and perennially popular genre of horror. The theoretical account is bolstered with original analyses of a range of well-known and popular modern American works of horror literature and horror film to illustrate how these works target evolved cognitive and emotional mechanisms to fulfill their function of absorbing, engaging, and horrifying audiences: I Am Legend (1954), Rosemary’s Baby (1967), Night of the Living Dead (1968), Jaws (1975), The Shining (1977), Halloween (1978), and The Blair Witch Project (1999). The book’s final chapter expands the discussion to include interactive, highly immersive horror experiences offered through horror video games and commercial haunted attractions.Less
This book explains the appeals and functions of horror entertainment by drawing on cutting-edge findings in the evolutionary social sciences, showing how the horror genre is a product of human nature. It is the first book to integrate the study of horror with the sciences of human nature and to offer a sustained analysis of the ways in which our evolutionary heritage constrains and directs horror in literature, film, and computer games. The central claim of the book is that horror entertainment works by targeting ancient and deeply conserved neurobiological mechanisms. We are attracted to horrifying entertainment because we have an adaptive tendency to find pleasure in make-believe that allows us to experience negative emotions at high levels of intensity within a safe context. This book offers a detailed theoretical account of the biological underpinnings of the paradoxically and perennially popular genre of horror. The theoretical account is bolstered with original analyses of a range of well-known and popular modern American works of horror literature and horror film to illustrate how these works target evolved cognitive and emotional mechanisms to fulfill their function of absorbing, engaging, and horrifying audiences: I Am Legend (1954), Rosemary’s Baby (1967), Night of the Living Dead (1968), Jaws (1975), The Shining (1977), Halloween (1978), and The Blair Witch Project (1999). The book’s final chapter expands the discussion to include interactive, highly immersive horror experiences offered through horror video games and commercial haunted attractions.
Philip Tallon
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199778935
- eISBN:
- 9780199919109
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199778935.001.0001
- Subject:
- Religion, Theology
The problem of evil has been a major focus in philosophy of religion for the last fifty years. But the academic literature has shown a bias against including aesthetic or artistic considerations in ...
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The problem of evil has been a major focus in philosophy of religion for the last fifty years. But the academic literature has shown a bias against including aesthetic or artistic considerations in defending God’s goodness in the face of evil. This work seeks to combat this trend by laying out a methodology for how theological aesthetics can interact with theodicy (the defense of God). This work resuscitates an older tradition of theodicy that includes artistic and aesthetic values in discussing God’s goodness in the midst of evil. Augustine’s vision of cosmic harmony provides a foundation for discussing the relationship between beauty and evil. Two contemporary themes complete the picture. Tragedy and horror illuminate another aesthetic dimension of the experience of evil in the world. The darker side of aesthetics shows more of evil and suffering’s disvalue, but also offers a richer understanding of the Christian response to the problem of evil.Less
The problem of evil has been a major focus in philosophy of religion for the last fifty years. But the academic literature has shown a bias against including aesthetic or artistic considerations in defending God’s goodness in the face of evil. This work seeks to combat this trend by laying out a methodology for how theological aesthetics can interact with theodicy (the defense of God). This work resuscitates an older tradition of theodicy that includes artistic and aesthetic values in discussing God’s goodness in the midst of evil. Augustine’s vision of cosmic harmony provides a foundation for discussing the relationship between beauty and evil. Two contemporary themes complete the picture. Tragedy and horror illuminate another aesthetic dimension of the experience of evil in the world. The darker side of aesthetics shows more of evil and suffering’s disvalue, but also offers a richer understanding of the Christian response to the problem of evil.
Steffen Hantke
- Published in print:
- 2016
- Published Online:
- May 2018
- ISBN:
- 9781496805652
- eISBN:
- 9781496805690
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496805652.001.0001
- Subject:
- Film, Television and Radio, Film
During the 1950s and early 1960s, the American film industry produced a distinct cycle of films situated on the boundary between horror and science fiction. Using the familiar imagery of science ...
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During the 1950s and early 1960s, the American film industry produced a distinct cycle of films situated on the boundary between horror and science fiction. Using the familiar imagery of science fiction, the vast majority of these films subscribed to the effects and aesthetics of horror film, anticipating the dystopian turn of many science fiction films to come. These films often evinced paranoia, unease, fear, shock, and disgust. Not only did these movies address technophobia and its psychological, social, and cultural corollaries, they also returned persistently to the military as a source of character, setting, and conflict. Commensurate with a state of perpetual mobilization, the US military comes across as an inescapable presence in American life. Regardless of their genre, this book argues that these films have long been understood as allegories of the Cold War. They register anxieties about two major issues of the time: atomic technologies, especially the testing and use of nuclear weapons, as well as communist aggression and/or subversion. Setting out to question, expand, and correct this critical argument, the book follows shifts and adjustments prompted by recent scholarly work into the technological, political, and social history of America in the 1950s. Based on this revised historical understanding, science fiction films appear in a new light as they reflect on the troubled memories of World War II, the emergence of the military-industrial complex, the postwar rewriting of the American landscape, and the relative insignificance of catastrophic nuclear war compared to America's involvement in postcolonial conflicts around the globe.Less
During the 1950s and early 1960s, the American film industry produced a distinct cycle of films situated on the boundary between horror and science fiction. Using the familiar imagery of science fiction, the vast majority of these films subscribed to the effects and aesthetics of horror film, anticipating the dystopian turn of many science fiction films to come. These films often evinced paranoia, unease, fear, shock, and disgust. Not only did these movies address technophobia and its psychological, social, and cultural corollaries, they also returned persistently to the military as a source of character, setting, and conflict. Commensurate with a state of perpetual mobilization, the US military comes across as an inescapable presence in American life. Regardless of their genre, this book argues that these films have long been understood as allegories of the Cold War. They register anxieties about two major issues of the time: atomic technologies, especially the testing and use of nuclear weapons, as well as communist aggression and/or subversion. Setting out to question, expand, and correct this critical argument, the book follows shifts and adjustments prompted by recent scholarly work into the technological, political, and social history of America in the 1950s. Based on this revised historical understanding, science fiction films appear in a new light as they reflect on the troubled memories of World War II, the emergence of the military-industrial complex, the postwar rewriting of the American landscape, and the relative insignificance of catastrophic nuclear war compared to America's involvement in postcolonial conflicts around the globe.
Philip Tallon
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199778935
- eISBN:
- 9780199919109
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199778935.003.0019
- Subject:
- Religion, Theology
Finally, this chapter looks at horrendous evils, an aesthetic theme in theodicy that has often been used as an attack on the existence of God, but has recently been used in the work of Marilyn McCord ...
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Finally, this chapter looks at horrendous evils, an aesthetic theme in theodicy that has often been used as an attack on the existence of God, but has recently been used in the work of Marilyn McCord Adams as a tool for understanding how theodicy needs to be formulated to respond sufficiently to the worst evils. It examines how horror as an aesthetic motif both critiques cosmic harmony and the tragic vision, and offers a helpful additional perspective.Less
Finally, this chapter looks at horrendous evils, an aesthetic theme in theodicy that has often been used as an attack on the existence of God, but has recently been used in the work of Marilyn McCord Adams as a tool for understanding how theodicy needs to be formulated to respond sufficiently to the worst evils. It examines how horror as an aesthetic motif both critiques cosmic harmony and the tragic vision, and offers a helpful additional perspective.
Torben Grodal
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195371314
- eISBN:
- 9780199870585
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195371314.003.0005
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter discusses the mental mechanisms that evoke fascination with film types such as fantasy and horror. It first discusses general reasons for the salience of fantastic and counterintuitive ...
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This chapter discusses the mental mechanisms that evoke fascination with film types such as fantasy and horror. It first discusses general reasons for the salience of fantastic and counterintuitive phenomena, and why the evolution of reason also supports as a side-effect superstitious over-causalization. It then discusses why some themes—agency, predation, death, morality, and social exchange—are central in “supernatural” films. Humans have evolved innate fears of dangerous, and even invisible creatures that feed on humans, and horror films abound with fears of powerful devouring monster-agents like Dracula. Death has been a central problem for mankind, partly because corpses are strongly contagious, and horror films activate innate fears of pollution. Further, in folk psychology, the body is controlled by a strong spirit, and when the body dies, the spirit/ghost poses problems and must also be killed (cf. Dracula). Moral surveillance in large groups is difficult, and counterintuitive agents are often invented to deter immoral behavior, like Sauron or Satan, who prey on those who misbehave. Finally, films with a supernatural content often project models from social life, such as exchanging favors and goods, as a model of how you may deal with nature or supernatural phenomena (by sacrifices, gifts, and so on).Less
This chapter discusses the mental mechanisms that evoke fascination with film types such as fantasy and horror. It first discusses general reasons for the salience of fantastic and counterintuitive phenomena, and why the evolution of reason also supports as a side-effect superstitious over-causalization. It then discusses why some themes—agency, predation, death, morality, and social exchange—are central in “supernatural” films. Humans have evolved innate fears of dangerous, and even invisible creatures that feed on humans, and horror films abound with fears of powerful devouring monster-agents like Dracula. Death has been a central problem for mankind, partly because corpses are strongly contagious, and horror films activate innate fears of pollution. Further, in folk psychology, the body is controlled by a strong spirit, and when the body dies, the spirit/ghost poses problems and must also be killed (cf. Dracula). Moral surveillance in large groups is difficult, and counterintuitive agents are often invented to deter immoral behavior, like Sauron or Satan, who prey on those who misbehave. Finally, films with a supernatural content often project models from social life, such as exchanging favors and goods, as a model of how you may deal with nature or supernatural phenomena (by sacrifices, gifts, and so on).
Robert C. Solomon
- Published in print:
- 2004
- Published Online:
- November 2004
- ISBN:
- 9780195145502
- eISBN:
- 9780199834969
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/019514550X.001.0001
- Subject:
- Philosophy, Philosophy of Mind
Philosophy has as much to do with feelings as it does with thoughts and thinking. It requires sensitivity and a kind of devotion as well as curiosity about the world and a critical spirit. It is a ...
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Philosophy has as much to do with feelings as it does with thoughts and thinking. It requires sensitivity and a kind of devotion as well as curiosity about the world and a critical spirit. It is a fascination not only with abstract ideas and logically possible worlds but with concrete and very real human concerns and engagements, “the human condition” To be a philosopher is to be steadfastly attentive to what it means to be human, to the passions as well as to much-celebrated “rationality” It is to be concerned with what it means to “exist,” to the satisfactions and worries and real life joys and confusions that affect us all. That is why one of the canonical exhortations in philosophy, inherited from the Delphic Oracle via Socrates, has always been “know thyself,” for it is through unusually rigorous self-examination that we come to know not only ourselves but our Selves, our deepest feelings, fears, and hopes. Philosophy, accordingly, in its concern for feelings, requires not only emotional sensitivity but an understanding of the emotions, not as curious but marginal psychological phenomena but as the very substance of life. And yet, philosophy and philosophers have much more often than not shunned the emotions and defined their profession and themselves strictly in terms of reason and rationality. In the history of philosophy sensitivity is often dismissed as mere “sentimentality.” Sentiment and sentimentality are to be avoided. In this book I am concerned to defend sentimentality and the emotions–at least, some emotions–as essential to life. Foremost among the essential emotions are the sentiments of love and compassion. Not all of the sentiments are so kindly, however. Accordingly, I discuss not only such “moral sentiments” as sympathy and compassion but also grief, gratitude, love, horror, and even vengeance. All of these have suffered from considerable abuse, though from different quarters, but all of them play a central if not essential role in our experience and our lives.Less
Philosophy has as much to do with feelings as it does with thoughts and thinking. It requires sensitivity and a kind of devotion as well as curiosity about the world and a critical spirit. It is a fascination not only with abstract ideas and logically possible worlds but with concrete and very real human concerns and engagements, “the human condition” To be a philosopher is to be steadfastly attentive to what it means to be human, to the passions as well as to much-celebrated “rationality” It is to be concerned with what it means to “exist,” to the satisfactions and worries and real life joys and confusions that affect us all. That is why one of the canonical exhortations in philosophy, inherited from the Delphic Oracle via Socrates, has always been “know thyself,” for it is through unusually rigorous self-examination that we come to know not only ourselves but our Selves, our deepest feelings, fears, and hopes. Philosophy, accordingly, in its concern for feelings, requires not only emotional sensitivity but an understanding of the emotions, not as curious but marginal psychological phenomena but as the very substance of life. And yet, philosophy and philosophers have much more often than not shunned the emotions and defined their profession and themselves strictly in terms of reason and rationality. In the history of philosophy sensitivity is often dismissed as mere “sentimentality.” Sentiment and sentimentality are to be avoided. In this book I am concerned to defend sentimentality and the emotions–at least, some emotions–as essential to life. Foremost among the essential emotions are the sentiments of love and compassion. Not all of the sentiments are so kindly, however. Accordingly, I discuss not only such “moral sentiments” as sympathy and compassion but also grief, gratitude, love, horror, and even vengeance. All of these have suffered from considerable abuse, though from different quarters, but all of them play a central if not essential role in our experience and our lives.
Jessica R. McCort (ed.)
- Published in print:
- 2016
- Published Online:
- May 2018
- ISBN:
- 9781496806444
- eISBN:
- 9781496806482
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496806444.001.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
Reading in the Dark: Horror in Children’s Literature and Culture is a collection of essays that seeks to consider gothic horror texts for children with the respect such texts deserve, weighing the ...
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Reading in the Dark: Horror in Children’s Literature and Culture is a collection of essays that seeks to consider gothic horror texts for children with the respect such texts deserve, weighing the multitude of benefits they can provide for young readers and viewers. It refuses to write off the horror genre as campy, trite, or deforming, instead recognizing that many of the children’s books and films categorized as “scary” are among those most widely read/viewed by children and young adults. It also considers how adult horror has been domesticated by children’s literature and culture, with authors and screenwriters turning that which was once utterly horrifying into safe, funny, and delightful books and films, along with the impetus behind such re-envisioning of the adult horror novel or film as something appropriate for the young. Especially today, when dark novels, shows, and films targeted toward children and young adults are proliferating with wild abandon, understanding the methods by which such texts have traditionally operated, as well as how those methods have been challenged, abandoned, and appropriated in recent years, becomes all the more crucial.Less
Reading in the Dark: Horror in Children’s Literature and Culture is a collection of essays that seeks to consider gothic horror texts for children with the respect such texts deserve, weighing the multitude of benefits they can provide for young readers and viewers. It refuses to write off the horror genre as campy, trite, or deforming, instead recognizing that many of the children’s books and films categorized as “scary” are among those most widely read/viewed by children and young adults. It also considers how adult horror has been domesticated by children’s literature and culture, with authors and screenwriters turning that which was once utterly horrifying into safe, funny, and delightful books and films, along with the impetus behind such re-envisioning of the adult horror novel or film as something appropriate for the young. Especially today, when dark novels, shows, and films targeted toward children and young adults are proliferating with wild abandon, understanding the methods by which such texts have traditionally operated, as well as how those methods have been challenged, abandoned, and appropriated in recent years, becomes all the more crucial.
