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| history of the horror genre: A History of Horror Wheeler W. Dixon, 2010 Ever since horror leapt from popular fiction to the silver screen in the late 1890s, viewers have experienced fear and pleasure in exquisite combination. A History of Horror, with rare stills from classic films, is the only book to offer a comprehensive survey of this ever-popular film genre. Chronologically examining over fifty horror films from key periods, this one-stop sourcebook unearths the historical origins of legendary characters and explores how the genre fits into the Hollywood studio system and how its enormous success in American and European culture expanded globally over time. |
| history of the horror genre: The Horror Genre Paul Wells, 2000 A comprehensive introduction to the history and key themes of the genre. The main issues and debates raised by horror, and the approaches and theories that have been applied to horror texts are all featured. In addressing the evolution of the horror film in social and historical context, Paul Wells explores how it has reflected and commented upon particular historical periods, and asks how it may respond to the new millennium by citing recent innovations in the genre's development, such as the urban myth narrative underpinning Candyman and The Blair Witch Project. Over 300 films are treated, all of which are featured in the filmography. |
| history of the horror genre: The Philosophy of Horror Noel Carroll, 2003-09-02 Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a transmedia phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having their wits scared out of them. What, after all, are those paradoxes of the heart that make us want to be horrified? |
| history of the horror genre: The Horror Film Rick Worland, 2024-08-08 A lively and reliable narrative account of the horror genre, featuring new and revised material throughout The Horror Film: An Introduction surveys the history, development, and social impact of the genre. Covering American horror cinema from its earliest period to the present, this reader-friendly volume explores the many ways horror movies have been received by filmmakers, critics, and general audiences throughout the decades. Concise, easily accessible chapters describe historical instances of the genre's social reception based on primary research, analyze landmark films such as Frankenstein, Invasion of the Body Snatchers, and The Texas Chain Saw Massacre, and more. Incorporating recent scholarship on the genre, the second edition of The Horror Film contains new discussion and context for Hollywood horror films in the 1980s and 1990s, as well as notable developments in the genre such as “torture porn,” found-footage horror, remakes and reboots of past horror films, zombies, and the “elevated horror” debate. This edition explores the rise of new filmmakers such as Ari Aster, Robert Eggers, and Jordan Peele, surveys horror films made by women and African American filmmakers, and investigates contemporary issues in the production and consumption of horror films. Combining historical narrative with close readings of significant works, The Horror Film: Covers major works in the genre such as Cat People, Halloween, and Bram Stoker's Dracula Examines important antecedents including gothic literature and the Grand Guignol Theater Offers thorough analyses of the style, context, and themes of specific horror milestones Provides examples of close analysis that can be applied to a wide range of other horror films Discusses important representative titles across the genre's evolution, including more recent films such as 2017's Get Out The Horror Film: An Introduction, Second Edition, is an ideal textbook for undergraduate surveys of the horror genre and other courses in American film history, and an invaluable resource for scholars, lecturers, and general readers with an interest in the subject. |
| history of the horror genre: The Horror Film Stephen Prince, 2004-02-09 In this volume, Stephen Prince has collected essays reviewing the history of the horror film and the psychological reasons for its persistent appeal, as well as discussions of the developmental responses of young adult viewers and children to the genre. The book focuses on recent postmodern examples such as The Blair Witch Project. In a daring move, the volume also examines Holocaust films in relation to horror. Part One features essays on the silent and classical Hollywood eras. Part Two covers the postWorld War II era and discusses the historical, aesthetic, and psychological characteristics of contemporary horror films. In contrast to horror during the classical Hollywood period, contemporary horror features more graphic and prolonged visualizations of disturbing and horrific imagery, as well as other distinguishing characteristics. Princes introduction provides an overview of the genre, contextualizing the readings that follow. Stephen Prince is professor of communications at Virginia Tech. He has written many film books, including Classical Film Violence: Designing and Regulating Brutality in Hollywood Cinema, 19301968, and has edited Screening Violence, also in the Depth of Field Series. |
| history of the horror genre: The Horror Film Rick Worland, 2024-09-16 A lively and reliable narrative account of the horror genre, featuring new and revised material throughout The Horror Film: An Introduction surveys the history, development, and social impact of the genre. Covering American horror cinema from its earliest period to the present, this reader-friendly volume explores the many ways horror movies have been received by filmmakers, critics, and general audiences throughout the decades. Concise, easily accessible chapters describe historical instances of the genre's social reception based on primary research, analyze landmark films such as Frankenstein, Invasion of the Body Snatchers, and The Texas Chain Saw Massacre, and more. Incorporating recent scholarship on the genre, the second edition of The Horror Film contains new discussion and context for Hollywood horror films in the 1980s and 1990s, as well as notable developments in the genre such as “torture porn,” found-footage horror, remakes and reboots of past horror films, zombies, and the “elevated horror” debate. This edition explores the rise of new filmmakers such as Ari Aster, Robert Eggers, and Jordan Peele, surveys horror films made by women and African American filmmakers, and investigates contemporary issues in the production and consumption of horror films. Combining historical narrative with close readings of significant works, The Horror Film: Covers major works in the genre such as Cat People, Halloween, and Bram Stoker's Dracula Examines important antecedents including gothic literature and the Grand Guignol Theater Offers thorough analyses of the style, context, and themes of specific horror milestones Provides examples of close analysis that can be applied to a wide range of other horror films Discusses important representative titles across the genre's evolution, including more recent films such as 2017's Get Out The Horror Film: An Introduction, Second Edition, is an ideal textbook for undergraduate surveys of the horror genre and other courses in American film history, and an invaluable resource for scholars, lecturers, and general readers with an interest in the subject. |
| history of the horror genre: Horror of the 20th Century Robert E. Weinberg, 2000 The most renowned writers, illustrators, publishers, actors, and filmmakers are drawn together in this exquisite portrayal of horror. Every media from comics, paperbacks, hardcovers, and movies is represented in full color. |
| history of the horror genre: Post-Horror David Church, 2021-02-01 Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed 'elevated horror' and 'post-horror,' films such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema. |
| history of the horror genre: Uncanny Bodies Robert Spadoni, 2007-09-04 In 1931 Universal Pictures released Dracula and Frankenstein, two films that inaugurated the horror genre in Hollywood cinema. These films appeared directly on the heels of Hollywood's transition to sound film. Uncanny Bodies argues that the coming of sound inspired more in these massively influential horror movies than screams, creaking doors, and howling wolves. A close examination of the historical reception of films of the transition period reveals that sound films could seem to their earliest viewers unreal and ghostly. By comparing this audience impression to the first sound horror films, Robert Spadoni makes a case for understanding film viewing as a force that can powerfully shape both the minutest aspects of individual films and the broadest sweep of film production trends, and for seeing aftereffects of the temporary weirdness of sound film deeply etched in the basic character of one of our most enduring film genres. |
| history of the horror genre: Horror Noire Robin R. Means Coleman, 2013-03 From King Kong to Candyman, the boundary-pushing genre of the horror film has always been a site for provocative explorations of race in American popular culture. In Horror Noire: Blacks in American Horror Films from 1890's to Present, Robin R. Means Coleman traces the history of notable characterizations of blackness in horror cinema, and examines key levels of black participation on screen and behind the camera. She argues that horror offers a representational space for black people to challenge the more negative, or racist, images seen in other media outlets, and to portray greater diversity within the concept of blackness itself. Horror Noire presents a unique social history of blacks in America through changing images in horror films. Throughout the text, the reader is encouraged to unpack the genre’s racialized imagery, as well as the narratives that make up popular culture’s commentary on race. Offering a comprehensive chronological survey of the genre, this book addresses a full range of black horror films, including mainstream Hollywood fare, as well as art-house films, Blaxploitation films, direct-to-DVD films, and the emerging U.S./hip-hop culture-inspired Nigerian Nollywood Black horror films. Horror Noire is, thus, essential reading for anyone seeking to understand how fears and anxieties about race and race relations are made manifest, and often challenged, on the silver screen. |
| history of the horror genre: The Horror Film Peter Hutchings, 2014-09-11 The Horror Film is an in-depth exploration of one of the most consistently popular, but also most disreputable, of all the mainstream film genres. Since the early 1930s there has never been a time when horror films were not being produced in substantial numbers somewhere in the world and never a time when they were not being criticised, censored or banned. The Horror Film engages with the key issues raised by this most contentious of genres. It considers the reasons for horror's disreputability and seeks to explain why despite this horror has been so successful. Where precisely does the appeal of horror lie? An extended introductory chapter identifies what it is about horror that makes the genre so difficult to define. The chapter then maps out the historical development of the horror genre, paying particular attention to the international breadth and variety of horror production, with reference to films made in the United States, Britain, Italy, Spain and elsewhere. Subsequent chapters explore: The role of monsters, focusing on the vampire and the serial killer. The usefulness (and limitations) of psychological approaches to horror. The horror audience: what kind of people like horror (and what do other people think of them)? Gender, race and class in horror: how do horror films such as Bride of Frankenstein, The Texas Chainsaw Massacre and Blade relate to the social and political realities within which they are produced? Sound and horror: in what ways has sound contributed to the development of horror? Performance in horror: how have performers conveyed fear and terror throughout horror's history? 1970s horror: was this the golden age of horror production? Slashers and post-slashers: from Halloween to Scream and beyond. The Horror Film throws new light on some well-known horror films but also introduces the reader to examples of noteworthy but more obscure horror work. A final section provides a guide to further reading and an extensive bibliography. Accessibly written, The Horror Film is a lively and informative account of the genre that will appeal to students of cinema, film teachers and researchers, and horror lovers everywhere. |
| history of the horror genre: Animal Horror Cinema Katarina Gregersdotter, Johan Höglund, Nicklas Hållén, 2016-02-22 This first full-length scholarly study about animal horror cinema defines the popular subgenre and describes its origin and history in the West. The chapters explore a variety of animal horror films from a number of different perspectives. This is an indispensable study for students and scholars of cinema, horror and animal studies. |
| history of the horror genre: The Politics of Horror Damien K. Picariello, 2020-06-26 The Politics of Horror features contributions from scholars in a variety of fields—political science, English, communication studies, and others—that explore the connections between horror and politics. How might resources drawn from the study of politics inform our readings of, and conversations about, horror? In what ways might horror provide a useful lens through which to consider enduring questions in politics and political thought? And what insights might be drawn from horror as we consider contemporary political issues? In turning to horror, the contributors to this volume offer fresh provocations to inform a broad range of discussions of politics. |
| history of the horror genre: American culture and perception of women in horror movies Emilia Wendykowska, 2012-07-02 Essay from the year 2012 in the subject American Studies - Culture and Applied Geography, grade: A, University of Malta, language: English, abstract: Horror genre has its origins in the gothic 19th century novels like Marry Shelley’s Frankenstein (1818) or John Polidori’s The Vampire (1819). Even though horror movie is a typical European genre, it has a long history in American cinema dating back to 1915 silent movie Les Vampires by Freuillade and to one of the first sound movies from 1931, Tod Browning’s famous Dracula. Horror movies may be put into three categories: ones that contain the supernatural elements, in which vampires, ghosts, witchcraft appears; psychological horror, which relies on characters’ fears, their guilt or beliefs; and massacre movies, with scenes of slaughter, brutality and rough treatment (Cinema Studies 184). Although horror movies, as an element of mass culture, may be perceived as simplistic, predictable, lacking depth and simply being an unworthy for analysis, there is a great deal of films that in its content reflect the contemporary problems that occurred in the American society. While many critics consider horror genre as a “low culture,” one must not fail to notice that its significance is enormous. One can sense an inextricable link between film and social concerns, since the role of the film is to project certain fears and concerns of contemporary society as well as to help people to resolve them. As Prawer observed: If the terror film is thus connected to our social concerns, it also, paradoxically, helps us to cope with our ordinary life by jolting us out of it (60). A popular opinion has it that the popularity of horror movies increases along with the disturbance experienced by the society. Since the 20th century is perceived as the era of the constant social upheaval, the history of the horror movie equals the history of the anxiety (Wells 3); hence, the time the cultural chaos erupts, the audience turns to horror movies as a means that liberates them from their anxiety. As Phillips asserts, “anxiety tends to promote a sense of helplessness; fear, on the other hand, provides an impetus for change” (9). Thus, the fear evoked by the slasher film, one is forced to invent new ways of coping with his or her difficulties, since a typical way of thinking will occur not only problematic but also troublesome. |
| history of the horror genre: A Pictorial History of Horror Movies Denis Gifford, 1983 |
| history of the horror genre: A Place of Darkness Kendall R. Phillips, 2018-03-01 Horror is one of the most enduringly popular genres in cinema. The term “horror film” was coined in 1931 between the premiere of Dracula and the release of Frankenstein, but monsters, ghosts, demons, and supernatural and horrific themes have been popular with American audiences since the emergence of novelty kinematographic attractions in the late 1890s. A Place of Darkness illuminates the prehistory of the horror genre by tracing the way horrific elements and stories were portrayed in films prior to the introduction of the term “horror film.” Using a rhetorical approach that examines not only early films but also the promotional materials for them and critical responses to them, Kendall R. Phillips argues that the portrayal of horrific elements was enmeshed in broader social tensions around the emergence of American identity and, in turn, American cinema. He shows how early cinema linked monsters, ghosts, witches, and magicians with Old World superstitions and beliefs, in contrast to an American way of thinking that was pragmatic, reasonable, scientific, and progressive. Throughout the teens and twenties, Phillips finds, supernatural elements were almost always explained away as some hysterical mistake, humorous prank, or nefarious plot. The Great Depression of the 1930s, however, constituted a substantial upheaval in the system of American certainty and opened a space for the reemergence of Old World gothic within American popular discourse in the form of the horror genre, which has terrified and thrilled fans ever since. |
| history of the horror genre: An Illustrated History of the Horror Films Carlos Clarens, 1967 |
| history of the horror genre: Horror Brigid Cherry, 2009-02-09 In this Routledge Film Guidebook, audience researcher and film scholar Brigid Cherry provides a comprehensive overview of the horror film and explores how the genre works. Examining the way horror films create images of gore and the uncanny through film technology and effects, Cherry provides an account of the way cinematic and stylistic devices create responses of terror and disgust in the viewer. |
| history of the horror genre: The Art of Horror Stephen Jones, 2015 THE ART OF HORROR: AN ILLUSTRATED HISTORY |
| history of the horror genre: Horror Fiction in the 20th Century Jess Nevins, 2020-01-07 Providing an indispensable resource for academics as well as readers interested in the evolution of horror fiction in the 20th century, this book provides a readable yet critical guide to global horror fiction and authors. Horror Fiction in the 20th Century encompasses the world of 20th-century horror literature and explores it in a critical but balanced fashion. Readers will be exposed to the world of horror literature, a truly global phenomenon during the 20th century. Beginning with the modern genre's roots in the 19th century, the book proceeds to cover 20th-century horror literature in all of its manifestations, whether in comics, pulps, paperbacks, hardcover novels, or mainstream magazines, and from every country that produced it. The major horror authors of the century receive their due, but the works of many authors who are less well-known or who have been forgotten are also described and analyzed. In addition to providing critical assessments and judgments of individual authors and works, the book describes the evolution of the genre and the major movements within it. Horror Fiction in the 20th Century stands out from its competitors and will be of interest to its readers because of its informed critical analysis, its unprecedented coverage of female authors and writers of color, and its concise historical overview. |
| history of the horror genre: Varney the Vampire; Or, the Feast of Blood Thomas Peckett Prest, James Malcolm Rymer, 2022-05-28 Varney the Vampire Or the Feast of Blood is a horror story by Thomas Peckett Prest. Structured in different episodes, these are classic tales of blood sucking horrors at midnights, for fans of the genre. |
| history of the horror genre: A Dictionary of Film Studies Annette Kuhn, Guy Westwell, 2012-06-21 Written by experts in the field, this dictionary covers all aspects of film studies, including terms, concepts, debates, and movements in film theory and criticism, national, international and transnational cinemas, film history, film movements and genres, film industry organizations and practices, and key technical terms and concepts in 500 detailed entries. Most entries also feature recommendations for further reading and a large number also have web links. The web links are listed and regularly updated on a companion website that complements the printed book. The dictionary is international in its approach, covering national cinemas, genres, and film movements from around the world such as the Nouvelle Vague, Latin American cinema, the Latsploitation film, Bollywood, Yiddish cinema, the spaghetti western, and World cinema. The most up-to-date dictionary of its kind available, this is a must-have for all students of film studies and ancillary subjects, as well as an informative read for cinephiles and for anyone with an interest in films and film criticism. |
| history of the horror genre: Horror Film Murray Leeder, 2018-01-25 An introduction to the horror film genre. |
| history of the horror genre: Horror Mark Wilshin, 2005 Examines the development of the horror film genre, from early works such as The cabinet of Dr. Caligari to modern films such as Nightmare on Elm Street and 28 days later |
| history of the horror genre: Horror and the Horror Film Bruce F. Kawin, 2012-06-25 Horror films can be profound fables of human nature and important works of art, yet many people dismiss them out of hand. ‘Horror and the Horror Film’ conveys a mature appreciation for horror films along with a comprehensive view of their narrative strategies, their relations to reality and fantasy and their cinematic power. The volume covers the horror film and its subgenres – such as the vampire movie – from 1896 to the present. It covers the entire genre by considering every kind of monster in it, including the human. |
| history of the horror genre: Haunted Leo Braudy, 2016-01-01 Cover -- Half-title -- Title -- Copyright -- Contents -- Preface -- 1 Shaping Fear -- 2 Between Hope and Fear: Horror and Religion -- 3 Terror, Horror, and the Cult of Nature -- 4 Frankenstein, Robots, and Androids: Horror and the Manufactured Monster -- 5 The Detective's Reason -- 6 Jekyll and Hyde: The Monster from Within -- 7 Dracula and the Haunted Present -- 8 Horror in the Age of Visual Reproduction -- Notes -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- X -- Y -- Z -- Illustrations |
| history of the horror genre: New Blood in Contemporary Cinema Pisters Patricia Pisters, 2020-08-18 Since the turn of the millennium, a growing number of female filmmakers have appropriated the aesthetics of horror for their films. In this book, Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Hadzihalilovic and Ana Lily Amirpour, who put 'a poetics of horror' to new use in their work, expanding the range of gendered and racialised perspectives in the horror genre. Exploring themes such as rage, trauma, sexuality, family ties and politics, New Blood in Contemporary Cinema takes on avenging women, bloody vampires, lustful witches, scary mothers, terrifying offspring and female Frankensteins. By following a red trail of blood, the book illuminates a new generation of women directors who have enlarged the general scope and stretched the emotional spectrum of the genre. |
| history of the horror genre: Let's Play White Chesya Burke, 2011-04-26 White brings with it dreams of respect, of wealth, of simply being treated as a human being. It's the one thing Walter will never be. But what if he could play white, the way so many others seem to do? Would it bring him privilege or simply deny the pain? The title story in this collection asks those questions, and then moves on to challenge notions of race, privilege, personal choice, and even life and death with equal vigor. From the spectrum spanning despair and hope in What She Saw When They Flew Away to the stark weave of personal struggles in Chocolate Park, Let's Play White speaks with the voices of the overlooked and unheard. I Make People Do Bad Things shines a metaphysical light on Harlem's most notorious historical madame, and then, with a deft twist into melancholic humor, Cue: Change brings a zombie-esque apocalypse, possibly for the betterment of all mankind. Gritty and sublime, the stories of Let's Play White feature real people facing the worlds they're given, bringing out the best and the worst of what it means to be human. If you're ready to slip into someone else's skin for a while, then it's time to come play white. Reviews: The label of dark fantasy and horror fits this collection both ironically and genuinely. Haunted by history and past wrongs, Burke's characters are never alone, never safe, never comfortable. She weaves African and African-American historical legend and standard horror themes into stories that range from gritty subway gore fests to a sympathetic take on zombies. The magnificent closing novella, The Teachings and Redemption of Ms. Fannie Lou Mason, follows a hoodoo woman as she nurtures and protects twin girls with similar powers and shows them what they are meant to do. If the urban realism doesn't always seem quite realistic, the depth of Burke's characters, the weight of their decisions, and their choices make this the very opposite of escapist fantasy. (July 2011) Publishers Weekly Let's Play White is a brutally honest book and the fact that the unthinkable happens, like a talking rat, a few zombies or communication with the dead, the underlying truthfulness is so powerful that it supersedes any implausible element. Although race is an essential backdrop to the stories, this is not a book about white racism against blacks. Instead, Burke touches on a variety of prejudices to let the reader know that color is not the only way in which we discriminate. Although some might cringe at the idea of reading a book about unfairness, racism and the dark tendencies of human nature, Burke's impeachable openness and undeniable writing skills make Let's Play White a very enjoyable read that fans of all literature should enjoy. Austin Post, Gabino Iglesias Human is many different things all at once. Let's Play White is a collection of short stories from Chesya Burke as she discusses issues of race and the problems we face regardless of it, and what links us all together in our plight of life. Thoughtful and thought provoking, Let's Play White is a fine choice that is a worthy addition to any literary short fiction collection, highly recommended. Midwest Book Review Chesya Burke’s writing style is just mesmerizing – there is an undeniable lyricism there but also a tangible darkness and pain. Readers who enjoy their fantasy decidedly dark and deep should check out this profoundly moving collection asap. Paul Goat Allen, B&N Books Club Blurbs: These raw, brutal stories, often with intriguingly open endings, display an odd and unsettling relationships to the poetry of violence. These dark tales announce the arrival of a formidable new master of the macabre. —Samuel R. Delany, author of Dhalgren and Through the Valley of the Nest of Spiders What a stunning collection. Let’s Play White… and so on time. [Chesya Burke has] touched something special in [her] stories. I’m a big Octavia Butler fan and I see a peek of that as well as some latter-day Toni Morrison [within these pages]. I see the light and warmth [Chesya is] offering. There definitely is magic in that. The short story, next to poetry, is the most difficult writing form. [Chesya has] tamed it and made it yield to [her] touch. --Nikki Giovanni, Grammy-nominated spoken word artist and poet |
| history of the horror genre: The A to Z of Horror Cinema Peter Hutchings, 2009-09-02 Horror is one of the most enduring and controversial of all cinematic genres. Horror films range from the subtle and the poetic to the graphic and the gory but what links them all is their ability to frighten, disturb, shock, provoke, delight, irritate, amuse, and bemuse audiences. Horror's capacity to serve as an outlet to capture the changing patterns of our fears and anxieties has ensured not only its notoriety but also its long-term survival and its international popularity. Above all, however, it is the audience's continual desire to experience new frights and evermore-horrifying sights that continue to make films like The Exorcist, A Nightmare on Elm Street, Halloween, Night of the Living Dead, The Texas Chainsaw Massacre, Psycho, Ringu, and The Shining captivate viewers. The A to Z of Horror Cinema traces the development of horror cinema from the beginning of the 20th century to the present day. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries. Entries cover all the major movie villains, including Frankenstein and his monster, the vampire, the werewolf, the mummy, the zombie, the ghost, and the serial killer; the film directors, producers, writers, actors, cinematographers, make-up artists, special effects technicians, and composers who have helped to shape horror history; significant production companies and the major films that have come to stand as milestones in the development of the horror genre; and the different national traditions in horror cinema as well as horror's most popular themes, formats, conventions, and cycles. |
| history of the horror genre: Horror Film and Otherness Adam Lowenstein, 2022-07-19 What do horror films reveal about social difference in the everyday world? Criticism of the genre often relies on a dichotomy between monstrosity and normality, in which unearthly creatures and deranged killers are metaphors for society’s fear of the “others” that threaten the “normal.” The monstrous other might represent women, Jews, or Blacks, as well as Indigenous, queer, poor, elderly, or disabled people. The horror film’s depiction of such minorities can be sympathetic to their exclusion or complicit in their oppression, but ultimately, these images are understood to stand in for the others that the majority dreads and marginalizes. Adam Lowenstein offers a new account of horror and why it matters for understanding social otherness. He argues that horror films reveal how the category of the other is not fixed. Instead, the genre captures ongoing metamorphoses across “normal” self and “monstrous” other. This “transformative otherness” confronts viewers with the other’s experience—and challenges us to recognize that we are all vulnerable to becoming or being seen as the other. Instead of settling into comforting certainties regarding monstrosity and normality, horror exposes the ongoing struggle to acknowledge self and other as fundamentally intertwined. Horror Film and Otherness features new interpretations of landmark films by directors including Tobe Hooper, George A. Romero, John Carpenter, David Cronenberg, Stephanie Rothman, Jennifer Kent, Marina de Van, and Jordan Peele. Through close analysis of their engagement with different forms of otherness, this book provides new perspectives on horror’s significance for culture, politics, and art. |
| history of the horror genre: Horror Films of the 1970s John Kenneth Muir, 2012-11-22 The seventies were a decade of groundbreaking horror films: The Exorcist, Carrie, and Halloween were three. This detailed filmography covers these and 225 more. Section One provides an introduction and a brief history of the decade. Beginning with 1970 and proceeding chronologically by year of its release in the United States, Section Two offers an entry for each film. Each entry includes several categories of information: Critical Reception (sampling both '70s and later reviews), Cast and Credits, P.O.V., (quoting a person pertinent to that film's production), Synopsis (summarizing the film's story), Commentary (analyzing the film from Muir's perspective), Legacy (noting the rank of especially worthy '70s films in the horror pantheon of decades following). Section Three contains a conclusion and these five appendices: horror film cliches of the 1970s, frequently appearing performers, memorable movie ads, recommended films that illustrate how 1970s horror films continue to impact the industry, and the 15 best genre films of the decade as chosen by Muir. |
| history of the horror genre: Horror Literature through History [2 volumes] Matt Cardin, 2017-09-21 This two-volume set offers comprehensive coverage of horror literature that spans its deep history, dominant themes, significant works, and major authors, such as Stephen King, Edgar Allan Poe, and Anne Rice, as well as lesser-known horror writers. Many of today's horror story fans—who appreciate horror through movies, television, video games, graphic novels, and other forms—probably don't realize that horror literature is not only one of the most popular types of literature but one of the oldest. People have always been mesmerized by stories that speak to their deepest fears. Horror Literature through History shows 21st-century horror fans the literary sources of their favorite entertainment and the rich intrinsic value of horror literature in its own right. Through profiles of major authors, critical analyses of important works, and overview essays focused on horror during particular periods as well as on related issues such as religion, apocalypticism, social criticism, and gender, readers will discover the fascinating early roots and evolution of horror writings as well as the reciprocal influence of horror literature and horror cinema. This unique two-volume reference set provides wide coverage that is current and compelling to modern readers—who are of course also eager consumers of entertainment. In the first section, overview essays on horror during different historical periods situate works of horror literature within the social, cultural, historical, and intellectual currents of their respective eras, creating a seamless narrative of the genre's evolution from ancient times to the present. The second section demonstrates how otherwise unrelated works of horror have influenced each other, how horror subgenres have evolved, and how a broad range of topics within horror—such as ghosts, vampires, religion, and gender roles—have been handled across time. The set also provides alphabetically arranged reference entries on authors, works, and specialized topics that enable readers to zero in on information and concepts presented in the other sections. |
| history of the horror genre: The Cambridge Companion to American Horror Stephen Shapiro, Mark Storey, 2022-08-04 Taking Horror seriously, the book surveys America's bloody and haunted history through its most terrifying cultural expressions. |
| history of the horror genre: The Encyclopedia of Japanese Horror Films Salvador Jiménez Murguía, 2016-07-29 Although the horror genre has been embraced by filmmakers around the world, Japan has been one of the most prolific and successful purveyors of such films. From science fiction terrors of the 1950s like Godzilla toviolentfilms like Suicide Circle and Ichi the Killer, Japanese horror film has a diverse history. While the quality of some of these films has varied, others have been major hits in Japan and beyond, frightening moviegoers around the globe. Many of these films—such as the Ringu movies—have influenced other horror productions in both Asia and the United States. The Encyclopedia of Japanese Horror Films covers virtually every horror film made in Japan from the past century to date. In addition to major and modest productions, this encyclopedia also features entries on notable directors, producers, and actors. Each film entry includes comprehensive details, situates the film in the context and history of Japanese horror cinema, and provides brief suggestions for further reading. Although emphasizing horror as a general theme, this encyclopedia also encompasses other genres that are associated with this theme, including Comedy Horror, Science Fiction Horror, Cyber-punk Horror, Ero Guru (Erotic Grotesque), and Anime Horror. The Encyclopedia of Japanese Horror Films is a comprehensive reference volume that will appeal to both cinema scholars as well as to the many fans of this popular genre. |
| history of the horror genre: Lost in the Dark Brad Weismann, 2021-04-22 Two horror films were nominated for the Academy Award for Best Picture in 2018, and one of them—The Shape of Water—won. Since 1990, the production of horror films has risen exponentially worldwide, and in 2013, horror films earned an estimated $400 million in ticket sales. Horror has long been the most popular film genre, and more horror movies have been made than any other kind. We need them. We need to be scared, to test ourselves, laugh inappropriately, scream, and flinch. We need to get through them and come out, blinking, still in one piece. Lost in the Dark: A World History of Horror Film is a straightforward history written for the general reader and student that can serve as a comprehensive reference work. The volume provides a general introduction to the genre, serves as a guidebook to its film highlights, and celebrates its practitioners, trends, and stories. Starting with silent-era horror films and ending with 2020’s The Invisible Man, Lost in the Dark looks at decades of horror movies. Author Brad Weismann covers such topics as the roots of horror in literature and art, monster movies, B-movies, the destruction of the American censorship system, international horror, torture porn, zombies, horror comedies, horror in the new millennium, and critical reception of modern horror. A sweeping survey that doesn’t scrimp on details, Lost in the Dark is sure to satisfy both the curious and the completist. |
| history of the horror genre: Horror after 9/11 Aviva Briefel, Sam J. Miller, 2012-08-24 Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen? Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of 'torture porn,' the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language. |
| history of the horror genre: Women Make Horror Alison Peirse, 2020-09-17 Winner of the the 2021 Best Edited Collection Award from BAFTSS Winner of the 2021 British Fantasy Award in Best Non-Fiction Finalist for the 2020 Bram Stoker Award® for Superior Achievement in Non-Fiction Runner-Up for Book of the Year in the 19th Annual Rondo Halton Classic Horror Awards “But women were never out there making horror films, that’s why they are not written about – you can’t include what doesn’t exist.” “Women are just not that interested in making horror films.” This is what you get when you are a woman working in horror, whether as a writer, academic, festival programmer, or filmmaker. These assumptions are based on decades of flawed scholarly, critical, and industrial thinking about the genre. Women Make Horror sets right these misconceptions. Women have always made horror. They have always been an audience for the genre, and today, as this book reveals, women academics, critics, and filmmakers alike remain committed to a film genre that offers almost unlimited opportunities for exploring and deconstructing social and cultural constructions of gender, femininity, sexuality, and the body. Women Make Horror explores narrative and experimental cinema; short, anthology, and feature filmmaking; and offers case studies of North American, Latin American, European, East Asian, and Australian filmmakers, films, and festivals. With this book we can transform how we think about women filmmakers and genre. |
| history of the horror genre: A Companion to the Horror Film Harry M. Benshoff, 2017-01-17 This cutting-edge collection features original essays by eminent scholars on one of cinema's most dynamic and enduringly popular genres, covering everything from the history of horror movies to the latest critical approaches. Contributors include many of the finest academics working in the field, as well as exciting younger scholars Varied and comprehensive coverage, from the history of horror to broader issues of censorship, gender, and sexuality Covers both English-language and non-English horror film traditions Key topics include horror film aesthetics, theoretical approaches, distribution, art house cinema, ethnographic surrealism, and horror's relation to documentary film practice A thorough treatment of this dynamic film genre suited to scholars and enthusiasts alike |
| history of the horror genre: God, Technology, and the Christian Life Tony Reinke, 2021-12-09 What Does God Think about Technology? From smartphones to self-driving cars to space travel, new technologies can inspire us. But the breakneck pace of change can also frighten us. So how do Christians walk by faith through the innovations of Silicon Valley? And how does God relate to our most powerful innovators? To build a biblical theology of technology, journalist and tech optimist Tony Reinke examines nine key texts from Scripture to show how the world's discoveries are divinely orchestrated. Ultimately, what we believe about God determines how we respond to human invention. With the help of several theologians and inventors throughout history, Reinke dispels twelve common myths in the church and offers fourteen ethical convictions to help Christians live by faith in the age of big tech. Biblical, Informed Look at Technology: Written by the author of 12 Ways Your Phone Is Changing You and Competing Spectacles: Treasuring Christ in the Media Age Gathers Ideas from Industry Experts and Theologians: Interacts with Christian and non-Christian sources on technology and theology including John Calvin, Herman Bavinck, Wendell Berry, and Elon Musk Educational: Discusses the history and philosophy behind major technological innovations |
| history of the horror genre: The Book of Horror Matt Glasby, 2020-09-22 “Glasby anatomizes horror’s scare tactics with keen, lucid clarity across 34 carefully selected main films—classic and pleasingly obscure. 4 Stars.” —Total Film? Horror movies have never been more critically or commercially successful, but there’s only one metric that matters: are they scary? The Book of Horror focuses on the most frightening films of the post-war era—from Psycho (1960) to It Chapter Two (2019)—examining exactly how they scare us across a series of key categories. Each chapter explores a seminal horror film in depth, charting its scariest moments with infographics and identifying the related works you need to see. Including references to more than one hundred classic and contemporary horror films from around the globe, and striking illustrations from Barney Bodoano, this is a rich and compelling guide to the scariest films ever made. “This is the definitive guide to what properly messes us up.” —SFX Magazine The films: Psycho (1960), The Innocents (1961), The Haunting (1963), Don’t Look Now (1973), The Exorcist (1973), The Texas Chain Saw Massacre (1974), Who Can Kill a Child? (1976), Suspiria (1977), Halloween (1978), The Shining (1980), The Entity (1982), Angst (1983), Henry: Portrait of a Serial Killer (1990), Ring (1998), The Blair Witch Project (1999), The Others (2001), The Eye (2002), Ju-On: The Grudge (2002), Shutter (2004), The Descent (2005), Wolf Creek (2005), The Orphanage (2007), [Rec] (2007), The Strangers (2008), Lake Mungo (2008), Martyrs (2008), The Innkeepers (2011), Banshee Chapter (2013), Oculus (2013), The Babadook (2014), It Follows (2015), Terrified (2017), Hereditary (2018), It Chapter Two (2019) |
American Horror Film - ia601901.us.archive.org
Horror films—United States—History and criticism. I. Hantke, Steffen, 1962– ... Even though the horror genre has been fed by tributaries from many national literary traditions—from German Romanticism to French surrealism and South American magical realism—and even though horror cinema has prospered ...
Interpreting Horror: Jordan Peele’s Us - JSTOR
These horror tropes are deeply rooted in our collective unconscious-ness, partly because the genre connects so deeply to our basic psycho-logical makeup. Theorists generally agree that the horror genre’s foundational engine is the Freudian concept of “the return of the repressed,” wherein suppressed memories and emotions reappear in
Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror ...
The coming of sound fueled a number of genre developments in Holly-wood cinema. One obvious example is the film musical. Less obvious is how the horror genre also dramatized and explored potentials that syn-chronized sound brought to Hollywood films. Where do we situate this outgrowth of the sound transition in relation to others of the ...
“The Horror, The Horror”: Representations of War and Political …
In addition to exploring the horror genre in literary and cinematic works of the imagination, we will ultimately apply the aesthetic, epistemic and ethical ... questions arising in the genre to shifting representations of traumatic history. As we map out the history and themes behind this popular genre, our aim is to probe the intersections ...
Horror Films and Grief - SAGE Journals
The horror genre is typified by two types of emotion it attempts to elicit in audiences: fear and disgust (e.g., see Carroll, 1990; Gaut, 1993; Hanich, 2010). Horror is thus well placed to repre-sent and discuss social and psychological themes associated with such emotions. Beyond the surface-level threat posed by
Genre Theory and Genre Development - Springer
genre theory both attempt to answer this question. Although both fields of study have mostly been kept separate, each can enlighten the other to new and astute insights. Literary genre theory has a history almost as long as literature itself. When we speak about the history of genre theory, we also tend to presuppose that genres
‘Three types of terror.’ A critical study into how Stephen King …
the study. The term horror genre is used interchangeably, when, in fact, it is very difficult to elucidate due to the numerous classifications and sub-genres e.g. horror of the uncanny, marvellous horror, fantastic horror, rural horror, cosmic horror, apocalyptic horror, erotic horror etc etc. (Prohászková 2012).
Post-Horror
2 POST-HORROR: ART, GENRE, AND CULTURAL ELEVATION populist tastes have proved ambivalent or even hostile toward the films’ aesthetic strategies, and dedicated horror fans have decried the critical conversation emerging around these works. Variously dubbed “slow horror,” “smart horror,” “indie horror,” “pres-
THE HORROR FILM - Western University
cultural contexts, paying close attention to both the perception and reception of horror audiences as well as the genre’s allegorical potential. Key topics to be discussed include: fears and anxieties addressed by horror cinema; cultural traditions of horror; horror and …
Humour and Horror in Science Fiction and Comedic Frankensteinian Films
Among the aims of this article is to show, even more so than their straight horror counterparts, how these genre departures from straight horror disrupt the following conventionally canonical assumptions concerning horror spectatorship 1) that the sadistic male viewer is the genre's ideal implied spectator; 2) that all women in films are ...
The Final Girl Grown Up: Representations of Women in Horror …
7 Nov 2018 · Cupp 4 how the Final Girl was, is, and will become in horror cinema, and to show the maturity and evolution of filmmaking. In Men, Women, and Chainsaws, Carol Clover defines the term Final Girl as the main female protagonist in slasher films in the period from Hitchcock’s Psycho to the late 80’s, just after Nightmare on Elm Street.Clover originally coined the term Final
History of science fiction films - Santa Barbara City College
The history of science fiction films parallels that of the movie-making industry as a whole, although it took several decades before the genre was taken seriously. Since the 1960s, major science fiction films have succeeded in pulling in large audience shares, and films in this genre have become a regular staple of the film industry.
Why Found Footage Horror Films Matter : Introduction
imitators, and arguably the entire found footage horror sub- genre that now consists of hundreds of films. 1 There is a straightforward economic reason why filmmakers continue to produce found footage horror films. The Blair Witch Project made over $248 million at the worldwide box office 2 on a $60,000 produc- tion budget, thus ensuring that ...
On Defining SF, or Not: Genre Theory, SF, and History
On Defining SF, or Not: Genre Theory, SF, and History In his groundbreaking 1984 essay, "A Semantic/Syntactic Approach to Film Genre," Rick Altman could accurately state that "genre theory has up to now aimed almost exclusively at the elaboration of a synchronie model approximating the syntactic operation of a specific genre" (12).
COLLEGE COURSE FILE: STUDIES IN GENRE—HORROR - JSTOR
ophy of Horror, and Barry Grant's Film Genre Reader. Todorov's work is superb on two counts: it is a descriptive and applicable account of literary approaches to genre, with an interesting discussion of genre problematics, but it takes as its subject the fantastic, a genre closely re lated to horror. Carroll's work is broad
Horror from the Soul—Gothic Style in Allan Poe’s Horror Fictions
consciousness. Poe’s horror fictions became the origin of Southern fictions, to a certain degree. In his works, he revealed people’s horror towards super nature, nothingness, death, evil and disintegration of personality. He tried to demonstrate that horror originates from our soul. By means of symbol, suspense, first person narrator,
Complex Female Agency, the Final Girl trope, and the Subversion …
Moreover, with regards to the conservative sexual politics of the horror genre, Hutchings (2004) states the following: For film critics, and especially those on the left, the slasher was too often a reactionary and regressive development, especially in …
Folk Horror and Folkhemmet - JSTOR
The horror subgenre most frequently assigned to Midsommar is folk horror, a small but coherent tradition that has witnessed a resurgence in the last several years.1 According to historians of the genre, folk horror originated with a trio of decades-old British horror films that have collectively come to be known
Western University Scholarship@Western - uwo.ca
“Feminist” horror films are compellingly complex cultural objects. This complexity is due to the two categories that are linked together in the name: feminism and the horror genre. The horror genre is often thought of as misogynistic, superficial and without any cultural relevance; indeed, the genre is seen to propagate a patriarchal
Horror, History and You - DiVA
Horror, History and You A Reader-Response Analysis of the Function of History in Two Works of H.P. Lovecraft and Its Relevance for an EFL Classroom Author: ... The merit of Lovecraft studies as a part of studies of genre fiction is substantial. His 65 stories, as well as a considerable amount of ghost writings and collaborations, has
Bluebeard’s Wives: Horror, Quality and the Gothic (or Paranoid) …
the horror genre. For example, Diane Waldman clearly identifies horror as a masculine genre, and therefore sees it as being distinct from the Gothic (or paranoid) woman’s film: The central feature of the Gothic is ambiguity, the hesitation between two possible interpretations of events by the protagonist and often, in
Evolutionary Study of Horror Literature - Springer
evolutionary interpretative paradigm for horror study. Horror and nEgativE Emotion Evolutionary horror scholars focus, as a first step, on the emotions targeted by horror, and they explain those emotions as a result of biological evolution. As many scholars have observed, horror is affectively defined, that is, by its
Genres, History, and Hollywood. A Review Article
the Left) utilize the concept of ''genre." No consensus exists among the authors as to how ''genre" is defined, let alone what it means. Yet all agree that its importance lies in this: A "genre" is not simply a series of films created in response to some internal, personal artistic urge, but a pattern that sprawls across the work of many directors.
(Why) Do You Like Scary Movies? A Review of the ... - ResearchGate
Responses to Horror Films. Front. Psychol. 10:2298. doi: 10.3389/fpsyg.2019.02298 ... Given the longevity of horror as a genre and its history in cinema, what is it that draws people to this ...
An Introduction to Genre Theory - UW Faculty Web Server
genre is ultimately an abstract conception rather than something that exists empirically in the world,' notes Jane Feuer (1992, 144). One theorist's genre may be another's sub-genre or even super-genre (and indeed what is technique, style, mode, formula or thematic grouping to one may be treated as a genre by another). Themes,
IDS 2935 “The Horror, The Horror”: Representations of War and …
In addition to exploring the horror genre in literary and cinematic works of the imagination, we will ultimately apply the aesthetic, epistemic and ethical ... questions arising in the genre to shifting representations of traumatic history. As we map out the history and themes behind this popular genre, our aim is to probe the intersections ...
Genre, Genres, and the Teaching of Genre - JSTOR
Genre, and Carol Berkenkotter and Thomas N. Huckin's Genre Knowledge in Disciplinary Communication: Cognition/Culture/Power. ... of history essays, and of poems. These applications of genre theory to particular contexts and texts make a wide variety of discoveries-about how genres change, the rhetorical.
Reviews • 179 Cherry, Brigid. Horror. Routledge Film ... - JSTOR
Chapter 1, "The Horror Genre: Form and Function," offers an overview of the difficulties of defining genre films in general and of horror specifically. It then provides a checklist of the defining characteristics of the genre. Chapter 2, "Horror Aesthetics and Affect," considers the intimate relationship between
Science Fiction: A Brief History and Review of Criticism
History and Review of Criticism By Marshall B. Tymn HISTORY OF THE GENRE ONCE genres science EXILED in fiction the TO United COMIC is now States STRIPS, the today.1 most PULP MAGAZINES popular Its enthusiasts of AND the range LATE-NIGHT specialized from omnivo- MOVIES, literary science fiction is now the most popular of the specialized literary
(Re)Animating the Horror Genre: Explorations in Children's …
(Re)Animating the Horror Genre: Explorations in Children's Animated Horror Films Megan Estelle Troutman University of Arkansas, Fayetteville Follow this and additional works at: https://scholarworks.uark.edu/etd Part of the Other Film and Media Studies Commons, and the Visual Studies Commons
Rethinking genre studies through distribution analysis: issues in ...
theory and replicate what have become canonical accounts of the genre’s thematic or stylistic development or its formal or ideological identity’ (261). The result is a recycling of knowledge, and approaches breaking new ground are few and far between. We propose that industrial analyses of the horror genre and horror cycles offer a way out
Origins and Evolutions: The Brutal History of Detective Fiction
In the literary history of detective ction, Edgar Allan Poe’s “The Murders in the Rue Morgue” (1841) occupies a notable position. As the rst of Poe’s three Dupin mysteries, the story is in many accounts coeval with the emergence of the detective genre. According to Stephen Rachman, Poe
The Evolution of Film Genres: A Comparative Analysis of …
The horror genre also began to take shape in the early years of Hollywood. Films like Nosferatu (1922) and The ... During the history of Hollywood, several key periods and directors have had a significant influence on the development and evolution of film genres. These influential periods and directors have made lasting
A Regiment of Monstrous Women: Female Horror Archetypes and …
Those unfamiliar with the genre of horror might be forgiven the naïve assumption that female characters only appear as the screaming victims of male psychopaths. Not so. Female protagonists are so often the action heroes of the horror genre that there is a specific genre term, Final Girl, applying to this character (Clover, 1992). More
The Evolution of Horror Films: From Classic Monsters to …
Horror films have a rich history dating back to the early days of cinema. While the genre has always been associated with fear and terror, its significance extends far beyond mere entertainment. These films offer a unique platform to explore societal fears, cultural taboos, and human psychology. The horror genre has acted as a mirror,
Dystopian Literature: Evolution of Dystopian Literature From …
The dystopian genre remained a dark themed, adult genre, highly reflective of the work of Zamyatin, until the 1980s and 1990s which introduced the idea of dystopia as a young adult genre. Dystopias did not become popular in the young adult genre until 1993, when Lois Lowry released The Giver.
What Is The Horror Genre By Sharon Russell Summary
Horror Genre By Sharon Russell Fuel your quest for knowledge with Learn from is thought-provoking masterpiece, What Is The Horror Genre By Sharon Russell . This educational ebook, conveniently sized in PDF ( *), is a gateway to personal growth and intellectual stimulation. What Is The Horror Genre By Sharon Russell Summary Full …
The Art of Gothic Literature: An Analysis of Mary Shelley's …
how this genre can provoke thought, challenge norms, and reveal deep truths about the human experience. Gothic literature has been a popular genre for centuries, captivating readers with its dark themes and mysterious settings. Mary Shelley's Frankenstein is a prime example of this genre, exploring the concept of creation and the
ir Contribution to the Genre. - Pennsylvania State University
The horror genre is quite eclectic and certainly has not been static in its long history as a literary genre. Horror began in oral traditions of storytelling and has moved since into novels, comics, and the silver-screen. The genre itself encapsulates multiple sub-genres that merge other elements into the general framework of what is considered ...
The Rise of Detective Fiction: A Historical Perspective with Special ...
Herodotus, and the Aeneid. But, whereas the tale of horror has flourished in practically every age and country, the detective–story has had a spasmodic history, appearing here and there in faint, tentative sketches and episodes. (Sayers, p.72) The genre of detective fiction finds its origin in stories of Daniel in Jewish Apocrypha,
'Shōjo' Spirits in Horror Manga - JSTOR
horror manga. The genre of shõjo horror manga, despite its popularity, has not been carefully examined because it has always been regarded as a vulgar subgenre of shõjo manga. However, symbolically speaking, shõjo horror manga hold a significant position. Shõjo horror manga explore worlds and images that go against the norm of shõjo manga ...
Through Time and Space: A Brief History of Science Fiction
quite genre – ‘proto-science fiction’ is a popular term – and proceed by a series of biblical begats: Wells begat Stapledon who begat Clarke who begat Baxter. For the purposes of this history, therefore, I intend to be as loose and eclectic in my definition …
Between Reality and Fantasy: The Narrative Strategies of the Horror ...
As such, the horror genre, like other genres, frequently explores the hierarchy of human needs defined by Maslow in 1943 1 and in the case of content for children, has been 1 On the importance of taking emotional risks based on human needs, see Seger (1987). Pérez-Guerrero, A. M. & Forero-Serna, A.
Horror and gothic literature, same or separate: A comparative study
subgenre, genre, horror, scenery, characters, differences, similarities. Introduction Gothic and horror, rather close yet so far from each other. Gothic is shown to be a ... The history of Horror Literature dates back to Ancient Greece and Rome. It is safe to say that the Ancient Greeks' and Ancient Romans' works influenced the horror of today ...
Horror Theatre Final - Academic Commons
same horror as one feels after, say, hearing about a large-scale natural disaster. In addition to excising natural horrors from the current discussion, it is necessary to draw a distinction between moments of horror and horror as a genre. Moments of horror can and do occur frequently in plays, movies, and novels, even when the work
