By Harry M. Benshoff
This state-of-the-art assortment gains unique essays by means of eminent students on one in all cinema's such a lot dynamic and enduringly well known genres, protecting every thing from the background of horror video clips to the newest severe approaches.
• participants comprise some of the most interesting lecturers operating within the box, in addition to interesting more youthful scholars
• diversified and accomplished assurance, from the background of horror to broader problems with censorship, gender, and sexuality
• Covers either English-language and non-English horror movie traditions
• Key subject matters comprise horror movie aesthetics, theoretical ways, distribution, artwork residence cinema, ethnographic surrealism, and horror's relation to documentary movie practice
• a radical therapy of this dynamic movie style fitted to students and lovers alike
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Extra info for A Companion to the Horror Film
For example, you might or might not have a penis; perhaps it makes no actual difference whether or not you have one, but the ways in which the people around you (such as your parents) think about the issue of having or not-having a penis will affect the way that you think about it. Children are curious about their bodies, and as they think about other people, they also question the impact that other people will have on their bodies, and that their bodies will have upon other people. Since we live in a culture in which certain parts of the body are supposed to be covered and certain bodily functions are supposed to be hidden, the way in which children learn these rules (rules about hidden vs public, clean vs dirty, and so on) will influence the way that they behave for the rest of their lives.
Psychoanalysis and Horror Freud’s model of normal human consciousness connects to horror cinema through his vision of abnormality: the origin and effects of the monstrous, the disgusting, the hidden, the murderous, the perverse. Why are so many horror films about children? Why is there such turbulence around issues of sexuality? Why do so many horror films present the return of some kind of trauma from the past, and why would something from the past be the cause of so much fear? ) To choose an example: rationally, we know that zombies do not actually exist, so if we are afraid of zombies, we must be afraid of something else, something that zombies represent.
And, second, that it is rational to care about and feel for characters who inhabit merely imagined worlds. These are both problematic. Consider the first: is it clear that audiences do not fear for themselves? If so, why is it that people are scared to turn out the lights after watching a horror movie? Why are people scared to look out the window at night after watching Bughuul in the bushes in Sinister (2012)? They surely are not scared for the characters hours or days after watching the movie.