Publisher: SIU Press
Unearthing the fearful flesh and sinful skins at the heart of gothic horror, Jack Morgan rends the genre’s biological core from its oft-discussed psychological elements and argues for a more transhistorical conception of the gothic, one negatively related to comedy. The Biology of Horror: Gothic Literature and Film dissects popular examples from the gothic literary and cinematic canon, exposing the inverted comic paradigm within each text. Morgan’s study begins with an extensive treatment of comedy as theoretically conceived by Suzanne Langer, C. L. Barber, and Mikhail Bakhtin. Then, Morgan analyzes the physical and mythological nature of horror in inverted comic terms, identifying a biologically grounded mythos of horror. Motifs such as sinister loci, languishment, masquerade, and subversion of sensual perception are contextualized here as embedded in an organic reality, resonating with biological motives and consequences. Morgan also devotes a chapter to the migration of the gothic tradition into American horror, emphasizing the body as horror’s essential place in American gothic. The bulk of Morgan’s study is applied to popular gothic literature and films ranging from high gothic classics like Matthew Lewis’s The Monk, Ann Radcliffe’s The Mysteries of Udolpho, Charles Maturin’s Melmoth the Wanderer, and Mary Shelley’s Frankenstein, to later literary works such as Poe’s macabre tales, Melville’s “Benito Cereno,” J.S. Le Fanu’s Uncle Silas, H.P. Lovecraft’s “The Shadow over Innsmouth,” Shirley Jackson’s The Haunting of Hillhouse, Stephen King’s Salem’s Lot, and Clive Barker’s The Damnation Game. Considered films include Nosferatu, Invasion of the Body Snatchers, Friday the 13th, Halloween, Night of the Living Dead, Angel Heart, The Stand, and The Shining. Morgan concludes his physical examination of the Gothic reality with a consideration born of Julia Kristeva’s theoretical rubric which addresses horror’s existential and cultural significance, its lasting fascination, and its uncanny positive—and often therapeutic—direction in literature and film.
Therefore, one of the significant aspects of cosmic horror by which Lovecraft
seeks to go beyond Poe is to specify more precisely the horror of biological
revulsion. That is, just as Whitman went beyond Emerson by balancing attention
on both ...
Author: D. Perry
Poe, 'The House of Usher,' and the American Gothic discusses the interrelation between Poe's tale and the modern horror genre, demonstrating how Poe's work continues to serve as a model for exploring the deepest and most primitive corners of the human mind and heart.
We consisted of four men from the University—Pabodie, Lake of the biology
department, Atwood of the physics department—also a meteorologist—and
myself, representing geology and having nominal command—besides sixteen
Author: Edgar Allan Poe
e-artnow presents to you this unique collection made especially for Halloween with carefully picked out stories from the very masters of the genre: H. P. Lovecraft: The Call of Cthulhu The Shadow Over Innsmouth Dagon The Dunwich Horror The Picture in the House The Outsider The Silver Key In the Vault The Whisperer in Darkness The Thing on the Doorstep The Shadow out of Time The Colour out of Space The Music of Erich Zann The Haunter of the Dark The Rats in the Walls Pickman's Model From Beyond Herbert West-Reanimator At The Mountains Of Madness Edgar Allan Poe: The Fall of the House of Usher The Cask of Amontillado The Pit and the Pendulum The Tell-Tale Heart The Masque of the Red Death The Black Cat The Murders in the Rue Morgue Ambrose Bierce: The Damned Thing An Occurrence at Owl Creek Bridge The Devil's Dictionary Chickamauga Arthur Machen: The Three Impostors The Hill of Dreams The Terror The Secret Glory The White People The Great God Pan The Inmost Light The Shining Pyramid The Red Hand The Great Return
Significantly, much of this biological horror relates specifically to female biology,
with menstruation, pregnancy and childbirth all providing potent sources of horror
and the monstrous. (See Creed, 1993 for a discussion of this.) This does not just
Author: Peter Hutchings
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.
Author: Peter Hutchings
The Historical Dictionary of Horror Cinema traces the development of the genre from its beginnings to the present. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries.
... and psychoanalysis is by no means accepted as an universal truth. In The
Biology of Horror: Gothic Literature and Film, Jack Morgan treats the horror
generated by the xii screening the gothic.
Author: Lisa Hopkins
Publisher: University of Texas Press
Filmmakers have long been drawn to the Gothic with its eerie settings and promise of horror lurking beneath the surface. Moreover, the Gothic allows filmmakers to hold a mirror up to their own age and reveal society's deepest fears. Franco Zeffirelli's Jane Eyre, Francis Ford Coppola's Bram Stoker's Dracula, and Kenneth Branagh's Hamlet are just a few examples of film adaptations of literary Gothic texts. In this ground-breaking study, Lisa Hopkins explores how the Gothic has been deployed in these and other contemporary films and comes to some surprising conclusions. For instance, in a brilliant chapter on films geared to children, Hopkins finds that horror resides not in the trolls, wizards, and goblins that abound in Harry Potter, but in the heart of the family. Screening the Gothic offers a radical new way of understanding the relationship between film and the Gothic as it surveys a wide range of films, many of which have received scant critical attention. Its central claim is that, paradoxically, those texts whose affiliations with the Gothic were the clearest became the least Gothic when filmed. Thus, Hopkins surprises readers by revealing Gothic elements in films such as Sense and Sensibility and Mansfield Park, as well as exploring more obviously Gothic films like The Mummy and The Fellowship of the Ring. Written in an accessible and engaging manner, Screening the Gothic will be of interest to film lovers as well as students and scholars.
Kristeva , J . ( 1982 ) Powers of Horror : An Essay on Abjection , trans . L . S .
Roudiez . New York : Columbia University Press . Lacey , C . ( 1998 ) ' Patrick
McCabe ' , Publishers Weekly , 16 November , 50 . Lanser , S . ( 1981 ) The
Author: Carole Zucker
Publisher: Wallflower Press
'The Cinema of Neil Jordan' discusses his entire output as part of the first comprehensive study of Jordan's career, looking beyond ideological and national concerns to view his films through the prism of Celtic folklore.
The Family in the American Horror Film Tony Williams ... Several works attempt a
general overview to the horror film such as S. S. Prawer, Caligari's Children: The
Film as Tale of ... See "Nightmare and the Horror Film: The Symbolic Biology of ...
Author: Tony Williams
Publisher: Associated University Presse
Hearths of Darkness: The Family in the American Horror Film is the first major book-length study of the family horror film. Far from being a marginal or nonexistent element in the horror genre, as some critics argue, author Tony Williams states that it is really one of the genre's most important features.
This study suggests a relationship exists between attraction to horror
entertainment and sensation seeking , however , this does not support the larger
assertion that curiosity about morbid things and the biological readiness to
respond to ...
Author: Bruce A. Austin
In what is becoming a series of annual volumes, researchers contribute to the study of cinema and mass communication by considering three nontraditional aspects of the industry. Among the 12 articles are discussions of the effect of horror movies on violence against women, the production of culture
These conclusions were greeted with horror from most researchers in the area of
the fish-tetrapod transition but they did stimulate renewed interest in the Dipnoi (
lungfishes) from a phylogenetic point of view. The first section of the 1987 book ...
Author: Jorden Morup Jorgensen
Publisher: CRC Press
The Biology of Lungfishes presents an up-to-date collection of reviews on some of the most important aspects of the life of lungfishes. The book draws on contributions from well-known experts with a long record of scientific work within their respective fields. The general natural history of the three genera of lungfishes, the fascinating fossil story, and modern ideas of lungfish phylogeny form the main part of the text. The book also covers the morphology and physiology of various organs.
It is , however , a film upsettingly obsessed with bodies and flesh , with mutation
and mutilation , with physical corruption and degeneration — with a biological
horror already explored by Cronenberg in such earlier films as They Came from ...
Author: Frank N. Magill
Publisher: Gale / Cengage Learning
Magill's Cinema Annual offers an in-depth retrospective of significant domestic and foreign films released in the U.S. Distinguishing features include its extensive credits, awards and nominations, MPAA ratings, eight indexes, and most importantly its exhaustive critical reviews with author bylines.
The Rhetoric of Horror in the Book of Jeremiah Amy Kalmanofsky Andrew Mein,
Claudia V. Camp. The text rhetorically asks : Does the ... The first is that horror
rhetoric conveys what Morgan terms “ biological failure . ” A horrific world is a
Author: Amy Kalmanofsky
Publisher: T&T Clark
Among the many strategies of persuasive speech, biblical prophets often employ a rhetoric of horror. Prophets use verbal threats and graphic images of destruction to terrify their audience. Contemporary horror theory provides insight into the rhetoric of horror employed by the prophets. In this book, Amy Kalmanofsky applies horror theory to the book of Jeremiah and considers the nature of biblical horror and the objects that provoke horror, as well as the ways texts like Jeremiah work to elicit horror from their audience. Kalmanofsky begins by analyzing the emotional response of horror as reflected in characters' reactions to terrifying entities in the book of Jeremiah. Horror, she concludes, is a composite emotion consisting of fear in response to a threatening entity and a corresponding response of shame either directed toward one's self or felt on behalf of another. Having considered the nature of horror, she turns to the objects that elicit horror and consider their ontological qualities and the nature of the threat they pose. There are two central monstrous figures in the book of Jeremiah-aggressor God and defeated Israel. Both of these monsters refuse to be integrated into and threaten to disintegrate the expected order of the universe. She then presents a close, rhetorical reading of Jeremiah 6 and consider the way this text works to horrify its audience. The book concludes by considering fear's place within religious experience and the theological implications of a rhetoric that portrays God and Israel as monsters.
More provocatively Berenstein suggests that, “in the [horror film's] figure of the
monster...presumptions of sexual difference on the basis of biology are as fraught
with ambiguities and are as historically constructed as those based on gender ...
Author: Harry M. Benshoff
Publisher: John Wiley & Sons
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