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"Horreur."
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Feeding the monster : why horror has a hold on us
Zombies want brains. Vampires want blood. Cannibals want human flesh. All monsters need feeding. Horror has been embraced by mainstream pop culture more than ever before, with horror characters and aesthetics infecting TV, music videos and even TikTok trends. Yet even with the commercial and critical success of 'The Babadook', 'Hereditary', 'Get Out', 'The Haunting of Hill House', 'Yellowjackets' and countless other horror films and TV series over the last few years, loving the genre still prompts the question: what's wrong with you? Implying, of course, that there is something not quite right about the people who make and consume it. In 'Feeding the Monster', Anna Bogutskaya dispels this notion once and for all by examining how horror responds to and fuels our feelings of fear, anxiety, pain, hunger, and power.
BOOK
The Horror of Police
Unmasks the horrors of a social order reproduced and
maintained by the violence of police Year after year the
crisis churns: graft and corruption, violence and murder, riot cops
and armored vehicles claim city streets. Despite promises of
reform, police operate with impunity, unaccountable to law. In
The Horror of Police , Travis Linnemann asks why, with this
open record of violence and corruption, policing remains for so
many the best, perhaps only means of security in an insecure
world.
Drawing on the language and texts of horror fiction, Linnemann
recasts the police not only as self-proclaimed \"monster fighters\"
but as monsters themselves, a terrifying force set loose in the
world. Purposefully misreading a collection of everyday police
stories (TV cop dramas, detective fiction, news media accounts, the
direct words of police) not as morality tales of innocence avenged
and order restored but as horror , Linnemann reveals the
monstrous violence at the heart of liberal social order.
The Horror of Police shows that police violence is not
a deviation but rather a deliberate and permanent fixture of U.S.
\"law and order.\" Only when viewed through the refracted motif of
horror stories, Linnemann argues, can we begin to reckon the limits
of police and imagine a world without them.
eBook
The Uncanny Child in Transnational Cinema : Ghosts of Futurity at the Turn of the Twenty-first Century
The uncanny child in transnational cinema illustrates how global horror film images of children reconceptualised childhood at the beginning of the twenty-first century, unravelling the child's long entrenched binding to ideologies of growth, futurity, and progress.
The book analyses an influential body of horror films featuring subversive depictions of children and proposes that complex cultural and industrial shifts at the turn of the millennium resulted in potent cinematic renegotiations of the concept of childhood. In these transnational films - largely stemming from Spain, Japan, and America - the child resists embodying growth and futurity: by demonstrating both the culturally specific and globally resonant properties of these frightening visions of children who refuse to grow up, the book outlines the conceptual and aesthetic mechanisms by which long entrenched ideologies of futurity, national progress, and teleological history started to waver at the turn of the 21st century.
eBook
Baroque horrors
Baroque Horrors turns the current cultural and political conversation from the familiar narrative patterns and self-justifying allegories of abjection to a dialogue on the history of our modern fears and their monstrous offspring. When life and death are severed from nature and history, \"reality\" and \"authenticity\" may be experienced as spectator sports and staged attractions, as in the \"real lives\" captured by reality TV and the \"authentic cadavers\" displayed around the world in the Body Worlds exhibitions. Rather than thinking of virtual reality and staged authenticity as recent developments of the postmodern age, Castillo looks back to the Spanish baroque period in search for the roots of the commodification of nature and the horror vacui that accompanies it. Aimed at specialists, students, and readers of early modern literature and culture in the Spanish and Anglophone traditions as well as anyone interested in horror fantasy, Baroque Horrors offers new ways to rethink broad questions of intellectual and political history and relate them to the modern age.
eBook
Fear and nature : ecohorror studies in the Anthropocene
Ecohorror represents human fears about the natural world—killer plants and animals, catastrophic weather events, and disquieting encounters with the nonhuman. Its portrayals of animals, the environment, and even scientists build on popular conceptions of zoology, ecology, and the scientific process. As such, ecohorror is a genre uniquely situated to address life, art, and the dangers of scientific knowledge in the Anthropocene.
Featuring new readings of the genre, Fear and Nature brings ecohorror texts and theories into conversation with other critical discourses. The chapters cover a variety of media forms, from literature and short fiction to manga, poetry, television, and film. The chronological range is equally varied, beginning in the nineteenth century with the work of Edgar Allan Poe and finishing in the twenty-first with Stephen King and Guillermo del Toro. This range highlights the significance of ecohorror as a mode. In their analyses, the contributors make explicit connections across chapters, question the limits of the genre, and address the ways in which our fears about nature intersect with those we hold about the racial, animal, and bodily “other.”
A foundational text, this volume will appeal to specialists in horror studies, Gothic studies, the environmental humanities, and ecocriticism.
In addition to the editors, the contributors include Kristen Angierski, Bridgitte Barclay, Marisol Cortez, Chelsea Davis, Joseph K. Heumann, Dawn Keetley, Ashley Kniss, Robin L. Murray, Brittany R. Roberts, Sharon Sharp, and Keri Stevenson.
eBook
Agatha Christie and Gothic Horror
Agatha Christie's work has been adapted extensively resulting in transformations that are both textual and cultural. While many adaptations are best known for being quaint murder mysteries, there are many adaptations of her work that draw on horror aesthetics. This book will look at how the growth of Agatha Christie adaptations have grown increasingly darker. Of key relevance to this study is the work of Sarah Phelps, whose 'Witness for the Prosecution', 'And Then There Were None', 'Ordeal by Innocence', 'The ABC Murders' and 'The Pale Horse' all are darker than their precedents. Born out of their contemporary screen contexts, they use entrenched literary and filmic codes of Gothic horror as central reference points for audiences. Drawing on adaptation scholarship, where adapters are interpreters as well as creators, this study will look at how Agatha Christie is closer to Gothic horror than what we realise.
eBook
(UN)THINKABLE TERRORS: SUPERNATURAL, FAMILY AND TRAUMA IN SOME CONTEMPORARY HORROR MOVIES
We would like to investigate the recurrence of a thematic complex in a set of horror movies in which the supernatural and terrifying event appears closely related to the resurgence of an ancient trauma, removed and long-buried in the past, who’s trying to come into the light. The trauma is always related to a violence committed against women and children, and are precisely those characters that the supernatural try to get in touch with, looking for contact or out for revenge. The uncanny agent and who’s trying to investigate on him seems to be connected by some kind of affinity of history and life which strongly implicates familiar dynamics.
Nous nous proposons d'examiner la récurrence d'un ensemble thématique dans un corpus de films d'horreur, où la manifestation d'un surnaturel terrifiant demeure étroitement liée à la réapparition d'un trauma, refoulé et jamais découvert, qui cherche à s'imposer à l'attention des vivants. Ce trauma a toujours trait à une violence perpétrée à l'endroit des femmes et des enfants, et ce sont précisément à ces personnages en question que le surnaturel, en quête de communication ou de vengeance, se manifeste. Entre la manifestation du surnaturel et ceux qui parviendront à le «libérer» se fait jour un lien d'affinité inédit, une similarité entre deux histoires sous-tendues par des dynamiques familiales.
Journal Article
Transmedia Terrors in Post-TV Horror
In the 21st century horror television has spread across the digital TV landscape, garnering mainstream appeal. Located within a transmedia matrix, this book triangulates this boom across screen content, industry practices, and online participatory cultures.
eBook
Dangerous bodies
Through an investigation of the body and its oppression by the church, the medical profession and the state, this book reveals the actual horrors lying beneath fictional horror in settings as diverse as the monastic community, slave plantation, operating theatre, Jewish ghetto and battlefield trench. The book provides original readings of canonical Gothic literary and film texts including The Castle of Otranto, The Monk, Frankenstein, Dracula and Nosferatu. This collection of fictionalised dangerous bodies is traced back to the effects of the English Reformation, Spanish Inquisition, French Revolution, Caribbean slavery, Victorian medical malpractice, European anti-Semitism and finally warfare, ranging from the Crimean up to the Vietnam War. The endangered or dangerous body lies at the centre of the clash between victim and persecutor and has generated tales of terror and narratives of horror, which function to either salve, purge or dangerously perpetuate such oppositions. This ground-breaking book will be of interest to academics and students of Gothic studies, gender and film studies and especially to readers interested in the relationship between history and literature.
eBook
Comédie populaire et humour noir dans le scénario cinématographique non filmé de A hora dos ruminantes
En 1967, le cinéaste Sérgio Person et le scénariste et critique Jean-Claude Bernardet écrivent le scénario de A hora dos ruminantes, qu’ils n’arriveront pas à filmer. Leur intention était de présenter un message de résistance à la dictature militaire en forme de spectacle cinématographique, avec des touches d’humour populaire (directement influencé par Amácio Mazzaroppi), souvent mêlées à l’horreur.
Journal Article