reaction that occurs when humans (as well as other animals) are exposed to a sudden and intense auditory stimulus. The startle response is usually experienced as frightful: in fact, the acoustic blast—a staple of horror films—is used in order to give the
A Neurofilmological Approach
The Fleshy Horror of the Unknowable Other in Spring and Honeymoon
of these poles similarly generate their strongest arguments through an analysis of horror films. I would argue, however, that two recent horror films, Honeymoon and Spring ( Benson and Moorhead, 2015 ), provide us not only with a satisfying
Both the slasher movie and its more recent counterpart the “torture porn“ film centralize graphic depictions of violence. This article inspects the nature of these portrayals by examining a motif commonly found in the cinema of homicide, dubbed here the “pure moment of murder“: that is, the moment in which two characters' bodies adjoin onscreen in an instance of graphic violence. By exploring a number of these incidents (and their various modes of representation) in American horror films ranging from Psycho (1960) to Saw VI (2009), the article aims to expound how these images of slaughter demonstrate (albeit in an augmented, hyperbolic manner) a number of long-standing problems surrounding selfhood that continue to fuel philosophical discussion. The article argues that the visual adjoining of victim and killer onscreen echoes the conundrum that in order to attain identity, the individual requires and yet simultaneously repudiates the Other.
Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo
, focuses its attention on the adaptive nature of horror for women and on the female protagonists of a myriad of horror film and long-form television narratives. It envisions contemporary horror as a “playground,” employing a working hypothesis that “horror
belongs “to an established cinematic lineage” of American horror films in which “rape is a common theme” (525). He also observes, rightfully, “[s]ince Deadgirl belongs to the zombie tradition, it is crucial to grasp how the film negotiates its heritage
Girlhood Identity in The Craft
Introduction In Andrew Fleming’s teen horror film The Craft (1996), a middle-aged bus driver drops four teenage girls in the middle of nowhere, warning them to “watch out for those weirdos.” Unbeknown to him, these girls are witches, poised to
Malin Wahlberg, Documentary Time: Film and Phenomenology; Jennifer Barker, The Tactile Eye: Touch and the Cinematic Experience; Julian Hanich, Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear
Malin Wahlberg, Documentary Time: Film and Phenomenology (Minneapolis and London: University of Minnesota Press, 2008), xvii + 170 pp., $22.50 (paperback).
Jennifer Barker, The Tactile Eye: Touch and the Cinematic Experience (Berkeley: University of California Press, 2009), xii + 196 pp., $24.95 (paperback).
Julian Hanich, Cinematic Emotion in Horror Films and Thrillers: The Aesthetic Paradox of Pleasurable Fear (New York and London: Routledge, 2010), xi + 301 pp., $118 (cloth).
David Siar, Anna Tripp, T. J. Lustig, John Simons, Sharon Monteith, Peter Stoneley, Tina M. Kelleher, Alison Sweeney, Alison Chapman, Dennis Brown, Maurice Rutherford, Michael Murphy, and Matt Simpson
The Illusions of Postmodernism by Terry Eagleton. Oxford: Blackwell, 1996. Pp. X + 147, $44.95 hb.; $15.95 pb.
Mother Love by Rita Dove. New York: Norton, 1996. pp. 78, ISBN 0393314448 £7.95.
Distinguished Discord: Discontinuity and Pattern in the Critical Tradition of ‘The Turn of the Screw’ by Robin P. Hoople, Lewisburg, Pa.: Bucknell University Press; London: Associated University Presses, 1997, £34.50). Pp. 328. ISBN 0-8387-5326-4.
European English Now, European Journal of English Studies, 1. 1. Swets and Zeitlinger, 132 pp., $69 / Dfl 115 to individuals, Dfl. 70 to ESSE members.
The Norton Anthology of African American Literature, Henry Louis Gates Jr. and Nellie Y. McKay et al., New York: Norton, 1997, pp. 2,665 Paper with CD 0393959082 £21.00.
Mark Twain in the Company of Women, by Laura E. Skandera- Trombley, Philadelphia: University of Pennsylvania Press, 1994; paper £15.50. Pp. xxiii, 219. ISBN 0 8122 1619 9.
Monsters in the Closet: Homosexuality and the Horror Film by Harry M. Benshoff. Manchester: Manchester University Press, 1997. Cloth £45.00 ISBN 0719044723, paper £14.99 ISBN 071904473.
Kate M. Cleary. A Literary Biography with Selected Works by Susanne K George. Lincoln and London: University of Nebraska Press, 1997. 250 pp. Cloth £28.50, ISBN: 0-8032-2164-9.
Consuming Subjects: British Women and Consumer Culture in the Eighteenth-Century by Elizabeth Kowalski-Wallace. New York: Columbia University Press, 1997. cloth £32.00 ISBN 0231105789; paper £12.00 ISBN 0231105797.
Paul Oppenheimer, An Intelligent Person’s Guide To Modern Guilt, (London: Duckworth, 1997), pp. 127, cloth £12.95 ISBN 0-7156- 2759-7.
Passing Through Glass by Hugh Underhill. (National Poetry Foundation, 1997) ISBN 1 900726 10 6, £5.00
The Vigil by C K Williams. (Bloodaxe Books, 1997) ISBN 1 85224 402 X, £7.95
Yeah Yeah Yeah by Roddy Lumsden. (Bloodaxe Books, 1997) ISBN 1 85224 403 8, £7.95
Kiosk by Hans Magnus Enzensberger, translated by Michael Hamburger. Bloodaxe Books, 1997.
La Jeune Parque by Paul Valéry. French - English Bilingual Edition, translated by Alistair Elliot. Bloodaxe Books, 1997.
Nantucket and the Angel by Gillian Allnutt. Bloodaxe Books. ISBN I - 8 5224 - 382 1 £6.95
The Sky Behind the Forest – Selected Poems by Liliana Ursu. Bloodaxe Books. ISBN I - 85224 - 386 - 4 £7.95
thematically organized: we have a pair of reviews on two novel books on Hollywood cinema—David Bordwell's Reinventing Hollywood and Todd Berliner's Hollywood Aesthetic— and another pair of reviews on book-length explorations of contemporary horror films by
. Although it is not explicit, Eisenstein's influence is also present in Valerio Sbravatti's article in this issue, which outlines a “neurofilmological approach” to acoustic startles in horror films. Like Eisenstein, Sbravatti is interested in the ways in