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Sleeping with the lights on : the unsettling story of horror
Fear is one of the most primal emotions, and one of the hardest to reason with and dispel. So why do we scare ourselves? Delving into the darkest corners of horror literature, films, and plays, Darryl Jones explores its monsters and its psychological chills, discussing why horror stories disturb us, and how they reflect society's taboos
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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
Scared
Three sinister stories to fill you with fear. Suggested level: primary, intermediate, junior secondary.
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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.
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The shapes of midnight
\"This new edition of an increasingly rare compilation presents 12 of Brennan's most chillingly memorable tales, including \"Diary of a Werewolf,\" \"The Horror at Chilton Castle,\" and \"Canavan's Back Yard.\"\"-- Provided by publisher.
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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
Readers' Advisory Guide to Horror, Second Edition
Vampires, zombies, ghosts, and ghoulies: there are more things going bump in the night than ever. So how do you wend your way through all of them to find the ones that interest a particular reader? RA expert Spratford updates her advisory to include the latest in monsters and the macabre, including Lists of recommended titles, authors, and sub-genres, all cross-referenced for quick reference Tips for effectively practicing horror RA, with interview questions for gauging a reader's interests An expanded resources section, with an overview addressing the current state of horror lit, and suggestions of how to dig deeperAs both an introductory guide for librarians just dipping their toes into the brackish water of scary fiction, as well as a fount of new ideas for horror-aware reference staff, Spratford's book is infernally appropriate.
eBook
Horror : a very short introduction
Four o'clock in the morning, and the lights are on and still there's no way we're going to sleep, not after the film we just saw. The book we just read. Fear is one of the most primal human emotions, and one of the hardest to reason with and dispel. So why do we scare ourselves? It seems almost mad that we would frighten ourselves for fun, and yet there are thousands of books, films, games, and other forms of entertainment designed to do exactly that. As Darryl Jones shows, the horror genre is huge. Ranging from vampires, ghosts, and werewolves to mad scientists, Satanists, and deranged serial killers, the cathartic release of scaring ourselves has made its appearance in everything from Shakespearean tragedies to internet memes. Exploring the key tropes of the genre, including its monsters, its psychological chills, and its love affair with the macabre, this Very Short Introduction discusses why horror stories disturb us, and how society responds to literary and film representations of the gruesome and taboo. Should the enjoyment of horror be regarded with suspicion? Are there different levels of the horrific, and should we distinguish between the commonly reviled carnage of contemporary torture porn and the culturally acceptable bloodbaths of ancient Greek tragedies? Analysing the way in which horror manifests multiple personalities, and has been used throughout history to articulate the fears and taboos of the current generation, Darryl Jones considers the continuing evolution of the genre today. As horror is mass marketed to mainstream society in the form of romantic vampires and blockbuster hits, it also continues to maintain its former shadowy presence on the edges of respectability, as banned films and violent internet phenomena push us to question both our own preconceptions and the terrifying capacity of human nature.
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