The contemporary literature on horror is one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. The central influence on this literature has for a while been film scholar and philosopher of art Noël
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
A Neurofilmological Approach
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
This article explores the relationship between existentialism and the horror genre. Noël Carroll and others have proposed that horror monsters defy established categories. Carroll also argues that the emotion they provoke - 'art-horror' - is a 'composite' of fear and disgust. I argue that the sometimes horrifying images and metaphors of Sartre's early philosophy, which correlate with nausea and anxiety, have a non-coincidental commonality with art-horror explained by existentialism's preoccupation with the interstitial nature of the self. Further, it is argued that, as with some of the more sophisticated examples of the horror genre, the way for existential protagonists like Roquentin and Gregor Samsa to meet the challenge of the horrifying involves an accommodation of these features of the existential condition within their developing identity, which results in them appearing monstrous to others. Lastly, it is claimed that the association between existentialism and art-horror can explain the (paradoxical) appeal of horror.
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.
Eric S. Rabkin
Frankenstein and Dracula represent two different genres in print but only one in film. The emergence of science fiction from the Gothic exemplifies normal public genre development. The translation of the written Frankenstein and Dracula into film exemplifies genre development as an adaptation both to historical moment and to medium. In both the print and film cases, we can see the same mechanisms by which a genre is not only established in the public sphere but in the mind of a reader or viewer, a dialectic process in which the genre forms and informs reading and viewing and potentially, as a genre, is reformed by reading and viewing. Consideration of cognitive mechanisms involved in verbal and visual cognition shows both the interaction and the typical dominance of the visual, although genre, and hence individual works, can be modified by increasing our focus on the verbal.
Trauma, History, and the Great Storm of 1900
This article considers the lurid accounts of looting and lynching that circulated after the 1900 Galveston, Texas, hurricane, the deadliest storm in United States history. Previous accounts of the flood have tended to ignore or subsume these stories in narratives of heroic recovery and progress. But Galvestonians' fantasies of racial violence suggest that the specific catastrophe of the flood was part of the ongoing disaster of racial terror in Texas at the turn of the twentieth century. Understanding disaster as a chronic human process rather than an acute wound from nature reveals that, instead of allowing white Galvestonians to transcend their history of violence against African Americans, the storm seemed to authorize them to further enact and reenact the imposition of suffering.
This article proposes that Q1 Hamlet is best understood as an early Gothic tragedy. It connects Catherine Belsey’s work on Shakespeare’s indebtedness to ‘old wives’ tales’ and ‘winter’s tales’ about ghosts with Terri Bourus’s evidence of Q1’s connections to Stratford-upon-Avon, the 1580s, and the beginnings of Shakespeare’s London career. It conducts a systematic lexical investigation of Q1’s Scene 14 (not present in Q2 or F), showing that the scene’s language is indisputably Shakespearian. It connects the dramaturgy of Q1 to the dramaturgy of Titus Andronicus, particularly in terms of issues about the staging of violence, previously explored by Stanley Wells. It also shows that Titus and Q1 Hamlet share an unusual interest in the barbarity and vengefulness of Gothic Europe (including Denmark and Norway).
Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo
Rikke Schubart, Mastering Fear: Women, Emotions, and Contemporary Horror (New York: Bloomsbury, 2018), 384 pp., $117 (hardback), ISBN: 9781501336713. Reviewed by Christopher Blake Evernden Rikke Schubart's new book, Mastering Fear
The Fleshy Horror of the Unknowable Other in Spring and Honeymoon
You never look at me from the place from which I see you. — Jacques Lacan (1977: 103) Near the end of Leigh Janiak’s Honeymoon (2014) , which has, up to this point, withheld any intense visceral horror, we are subject to an almost