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الاستماع والقراءة

Edmund P. Cueva

No in- or out-of-print book has the same goals, content, wide range, and scholarly approach as the present study. Whether intentionally or unintentionally, previously published books have neglected ancient Graeco-Roman texts that either cause horror or may be said to belong to the horror genre. This may partly be the result of the low esteem in which any text that did not fit neatly into one of the major and traditional literary genres was held by most scholars – particularly apparent with regard to texts that dealt with the supernatural or the occult, which were often relegated to specialists in ancient religions, rituals or beliefs. This book reviews the concepts of horror (literary, psychological, and biophysical), examines the current definitions for ‘horror fiction’, evaluates the current interest in the darker side of the classical world, and suggests new ways of thinking about horror as a genre.

University of Wales Press

Horror Studies

Horror in Classical Literature: ‘On a Profound and Elementary Principle'

Jamil Mustafa

This book is a pioneering study of Blaxploitation horror films, connecting them with both mainstream horror movies and classic Gothic texts. The author argues that conventional horror films adapt, while Blaxploitation horror films appropriate, the archetypes of Gothic fiction – and rather than exploit, it is argued that they function to satisfy Black audiences. Of the few scholars who have given consideration to Blaxploitation horror films, only occasional chapters have been devoted by them in monographs focused on either Blaxploitation films or horror films. In marked contrast, the present study gives a book-length consideration to Blaxploitation horror films per se, demonstrating how they engage both Gothic fiction and film, and issues of vital significance to American society and culture in the 1970s. In this important and innovative study, chapters explore the sociocultural significance of the vampire, Frankenstein’s monster, Jekyll/Hyde and the werewolf, the zombie and the demon.

The Blaxploitation Horror Film: Adaptation, Appropriation and the Gothic

Agnieszka Kotwasińska

This is a study of tumultuous transformations of kinship and intimate relationships in American horror fiction over the last three decades. Twelve contemporary novels (by ten women writers and two whose work has been identified as women’s fiction) are grouped into four main thematic clusters – haunted houses; monsters; vampires; and hauntings – but it is social scripts and concerns linked directly to intimacy and family life that structure the entire volume. By drawing attention to how the most intimate of all social relationships – the family – supports and replicates social hierarchies, exclusions, and struggles for dominance, the book problematises the source of horror. The consideration of horror narratives through the lens of familial intimacies makes it possible to rethink genre boundaries, to question the efficacy of certain genre tropes, and to consider the contribution of such diverse authors as Kathe Koja, Tananarive Due, Gwendolyn Kiste, Elizabeth Engstrom, Sara Gran and Caitlín R. Kiernan.

House of Horrors: Familial Intimacies in Contemporary American Horror Fiction

While the undisputed heyday of folk horror was Britain in the 1960s and 1970s, the genre has not only a rich cinematic and literary prehistory, but directors and novelists around the world have also been reinventing folk horror for the contemporary moment. This study sets out to rethink the assumptions that have guided critical writing on the genre in the face of such expansions, with chapters exploring a range of subjects from the fiction of E. F. Benson to Scooby-Doo, video games, and community engagement with the Lancashire witches. In looking beyond Britain, the essays collected here extend folk horror’s geographic terrain to map new conceptualisations of the genre now seen emerging from Italy, Ukraine, Thailand, Mexico and the Appalachian region of the US.

Folk Horror: New Global Pathways

Miranda Corcoran

In the decades since the Second World War, the teenage witch has emerged as a major American cultural trope. Appearing in films, novels, comics and on television, adolescent witches have long reflected shifting societal attitudes towards the teenage demographic. At the same time, teen witches have also served as a means through which adolescent femininity can be conceptualised, interrogated and reimagined. Drawing on a wide theoretical framework – including the works of Deleuze and Foucault as well as recent new materialist philosophies – this book explores how the adolescent witch has evolved over the course of more than seventy years. Moving from the birth of the bobby soxer in the 1940s through to twenty-first-century teenage engagements with fourth-wave feminism, the author discusses a range of themes including embodiment, agency, identity, violence and sexuality.

Witchcraft and Adolescence in American Popular Culture: Teen Witches

Zombies have become an increasingly popular object of research in academic studies and, of course, in popular media. Over the past decade, they have been employed to explain mathematical equations, vortex phenomena in astrophysics, the need for improved laws, issues within higher education, and even the structure of human societies. Despite the surge of interest in the zombie as a critical metaphor, no coherent theoretical framework for studying the zombie actually exists. Addressing this current gap in the literature, Theorising the Contemporary Zombie defines zombiism as a means of theorising and examining various issues of society in any given era by immersing those social issues within the destabilising context of apocalyptic crisis; and applying this definition, the volume considers issues including gender, sexuality, family, literature, health, popular culture and extinction.

Theorising the Contemporary Zombie: Contextual Pasts, Presents, and Futures

Blumhouse Productions is the first book that systematically examines the corpus of Blumhouse’s cinematic output. Individual chapters written by emerging and established scholars consider thematic trends across Blumhouse films, such as the use of found footage, haunted bodies/haunted houses, and toxic masculinity. Blumhouse’s business strategies and funding model are considered – including the company’s high-profile franchises Paranormal Activity, Insidious, The Purge, Happy Death Day, and Halloween – alongside such key standalone films as Get Out and Black Christmas, and nonhorror films like BlackKklansman. Taken together, the chapters provide a thorough primer for one of the most significant drivers behind the contemporary resurgence of horror cinema.

Blumhouse Productions: The New House of Horror

The ‘macabre’, as a process and product, has been haunting the theatre – and more broadly, performance – for thousands of years. In its embodied meditations on death and dying, its thematic and aesthetic grotesquerie, and its sensory-rich environments, macabre theatre invites artists and audiences to trace the stranger, darker contours of human existence. In this volume, numerous scholars explore the morbid and gruesome onstage, from freak shows to the French Grand Guignol; from Hell Houses to German Trauerspiel; from immersive theatre to dark tourism, stopping along the way to look at phantoms, severed heads, dark rides, haunted mothers and haunting children, dances of death and dismembered bodies. From Japan to Australia to England to the United States, the global macabre is framed and juxtaposed to understand how the theatre brings us face to face with the deathly and the horrific.

Theatre and the Macabre

OPEN ACCESS

To view Embodying Contagion for free click on the following link: https://www.uwp.co.uk/app/uploads/Embodying-Contagion-full-pdf-OA-low-res-min.pdf 

This edited volume is also available to read on OAPEN: https://library.oapen.org/handle/20.500.12657/47586

From Outbreak to The Walking Dead, apocalyptic narratives of infection, contagion and global pandemic are an inescapable part of twenty-first-century popular culture. Yet these fears and fantasies are too virulent to be simply quarantined within fictional texts; vocabulary and metaphors from outbreak narratives have now infiltrated how news media, policymakers, and the general public view the real world and the people within it. In an age where fact and fiction seem increasingly difficult to separate, contagious bodies (and the discourses that contain them) continually blur established boundaries between real and unreal, legitimacy and frivolity, science and the supernatural. Where previous scholarly work has examined the spread of epidemic realities in horror fiction, the essays in this collection also consider how epidemic fantasies and fears influence reality. Bringing scholarship from cultural and media studies into conversation with scholarship from the medical humanities and social sciences, this collection aims to give readers a fuller picture of the viropolitics of contagious bodies in contemporary global culture.

Embodying Contagion: The Viropolitics of Horror and Desire in Contemporary Discourse

The Horror genre has become one of the most popular genres of TV drama with the global success and fandom surrounding The Walking Dead, Supernatural and Stranger Things. Horror has always had a truly international reach, and nowhere is this more apparent than on television as explored in this provocative new collection looking at series from across the globe, and considering how Horror manifests in different cultural and broadcast/streaming contexts. Bringing together established scholars and new voices in the field, Global TV Horror examines historical and contemporary TV Horror from Australia, Brazil, Canada, Denmark, France, Iran, Japan, Spain, New Zealand, USA and the UK. It expands the discussion of TV Horror by offering fresh perspectives, examining new shows, and excavating new cultural histories, to render what has become so familiar – Horror on television – unfamiliar yet again.

Global TV Horror

Lindsey Decker

As an intervention in conversations on transnationalism, film culture and genre theory, this book theorises transnational genre hybridity – combining tropes from foreign and domestic genres – as a way to think about films through a global and local framework. Taking the British horror resurgence of the 2000s as case study, genre studies are here combined with close formal analysis to argue that embracing transnational genre hybridity enabled the boom; starting in 2002, the resurgence saw British horror film production outpace the golden age of British horror. Yet, resurgence films like 28 Days Later and Shaun of the Dead had to reckon with horror’s vilified status in the UK, a continuation of attitudes perpetuated by middle-brow film critics who coded horror as dangerous and Americanised. Moving beyond British cinema studies’ focus on the national, this book also presents a fresh take on long-standing issues in British cinema, including genre and film culture.

Transnationalism and Genre Hybridity in New British Horror Cinema

The taste for horror is arguably as great today as it has ever been. Since the turn of the millennium, the horror genre has seen various developments emerging out of a range of contexts, from new industry paradigms and distribution practices to the advancement of subgenres that reflect new and evolving fears. New Blood builds upon preceding horror scholarship to offer a series of critical perspectives on the genre since the year 2000, presenting a collection of case studies on topics as diverse as the emergence of new critical categories (such as the contentiously named ‘prestige horror’), new subgenres (including ‘digital folk horror’ and ‘desktop horror’) and horror on-demand (‘Netflix horror’), and including analyses of key films such as The Witch and Raw and TV shows like Stranger Things and Channel Zero. Never losing sight of the horror genre’s ongoing political economy, New Blood is an exciting contribution to film and horror scholarship that will prove to be an essential addition to the shelves of researchers, students and fans alike.

New Blood: Critical Approaches to Contemporary Horror

Michael J. Blouin

From The Long Walk to The Outsider, Stephen King’s output reflects the major political concerns of the previous fifty years. This book is the first sustained study of the complex ways in which King’s texts speak to their unique political moments. By exploring this aspect of the author’s popular works, readers might better understand the numerous crises that Americans currently face – the book surveys King’s corpus to address a wide range of issues, including the spread of neoliberalism, the Bush-Cheney doctrine, and the chaos of the populist present. Although the fiction outwardly declares itself to be anti-political (thus reflecting a widespread shift away from democracy in the aftermath of the 1960s), political energies persist just beneath the surface. Given the possibility of a political resurgence that haunts so many of his page-turners, Stephen King produces horror and hope in equal measure.

Stephen King and American Politics

This anthology comprises essays that study the form, aesthetics and representations of LGBTQ+ identities in an emerging sub-genre of film and television termed ‘New Queer Horror’. This sub-genre designates horror crafted by directors/producers who identify as gay, bi, queer or transgendered, or works like Jeepers Creepers (2001), Let the Right One In (2008), Hannibal (2013–15), or American Horror Story: Coven (2013–14), which feature homoerotic or explicitly homosexual narratives with ‘out’ LGBTQ+ characters. Unlike other studies, this anthology argues that New Queer Horror projects contemporary anxieties within LGBTQ+ subcultures onto its characters and into its narratives, building upon the previously figurative role of Queer monstrosity in the moving image. New Queer Horror thus highlights the limits of a metaphorical understanding of queerness in the horror film, in an age where its presence has become unambiguous. Ultimately, this anthology aims to show that in recent years New Queer Horror has turned the focus of fear on itself, on its own communities and subcultures.

New Queer Horror Film and Television

Jonathan Newell

This book offers a new critical perspective on the weird that combines two ways of looking at weird and cosmic horror. On the one hand, critics have considered weird fiction in relation to aesthetics – the emotional effects and literary form of the weird. On the other hand, recent scholarship has also emphasised the potential philosophical underpinnings and implications of weird fiction, especially in relation to burgeoning philosophical movements such as new materialism and speculative realism. This study bridges the gap between these two approaches, considering the weird from its early outgrowth from the Gothic through to Lovecraft’s stories – a ‘weird century’ from 1832–1937. Combining recent speculative philosophy and affect theory, it argues that weird fiction harnesses the affective power of disgust to provoke a re-examination of subjectival boundaries and the complex entanglement of the human and nonhuman.

A Century of Weird Fiction, 1832-1937: Disgust, Metaphysics and the Aesthetics of Cosmic Horror

Alexandra Heller-Nicholas

Why has the mask been such an enduring generic motif in horror cinema? This book explores its transformative potential historically across myriad cultures, particularly in relation to its ritual and mythmaking capacities, and its intersection with power, ideology and identity. All of these factors have a direct impact on mask-centric horror cinema: meanings, values and rituals associated with masks evolve and are updated in horror cinema to reflect new contexts, rendering the mask a persistent, meaningful and dynamic aspect of the genre’s iconography. This study debates horror cinema’s durability as a site for the potency of the mask’s broader symbolic power to be constantly re-explored, re-imagined and re-invented as an object of cross-cultural and ritual significance that existed long before the moving image culture of cinema.

Masks in Horror Cinema: Eyes Without Faces

Dawn Stobbart

Videogames are full of horrors – and of horror, a facet of the media that has been largely overlooked by the academic community in terms of lengthy studies in the fast-growing field of videogame scholarship. This book engages with the research of prominent scholars across the humanities to explore the presence, role and function of horror in videogames, and in doing so it demonstrates how videogames enter discussion on horror and offer a unique, radical space that horror is particularly suited to fill. The topics covered include the construction of stories in videogames, the role of the monster and, of course, how death is treated as a learning tool and as a facet of horror.

Videogames and Horror: From Amnesia to Zombies, Run!

Horror and Religion is an edited collection of essays offering structured discussions of spiritual and theological conflicts in Horror fiction from the late-sixteenth to the twenty-first century. Contributors explore the various ways that horror and religion have interacted over themes of race and sexuality; the texts under discussion chart the way in which the religious imagination has been deployed over the course of Horror fiction’s development, from a Gothic mode based in theological polemics to a more distinct genre in the twenty-first century that explores the afterlife of religion. Horror and Religion focuses on the Horror genre and its characteristics of the body, sexuality, trauma and race, and the essays explore how Horror fiction has shifted emphasis from anti-Catholicism and anti-Semitism to incorporate less understood historical and theological issues, such as the ‘Death of God’ and the spiritual destabilisation of the secular. By confronting spiritual conflicts in Horror fiction, this volume offers new perspectives on what we traditionally perceive as horrifying.

Horror Studies - سلسلة الكتب

Horror Studies - سلسلة الكتب

Horror Studies كتب بالترتيب

الاستماع والقراءة