Noël Carroll's influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of horror in the genre. This article offers a critical understanding of the nature of the emotion of horror for Carroll, with a view to informing future investigations into the nature of horror in film (and beyond).
Filippo Contesi is Juan de la Cierva Postdoctoral Fellow in the LOGOS Research Group and at the University of Barcelona (Spain). He mainly works on issues in the philosophy of mind and arts. Email: email@example.com
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