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Lädt ... The Philosophy of Horror (The Philosophy of Popular Culture)42 | 1 | 600,972 |
(3.5) | 1 | Sitting on pins and needles, anxiously waiting to see what will happen next, horror audiences crave the fear and exhilaration generated by a terrifying story; their anticipation is palpable. But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror's ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley's Frankenstein (1818), horror films of the 1930s, Stephen King's novels, Stanley Kubrick's adaptation of The Shining (1980, and Alfred Hitchcock's Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote's In Cold Blood (1965), Patrick Süskind's Perfume (1985), and James Purdy's Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and "torture-horror" films of the last decade, including Saw (2004), Hostel (2005), The Devil's Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen. The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror's various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today's media-hungry society.… (mehr) |
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Die Informationen stammen von der englischen "Wissenswertes"-Seite. Ändern, um den Eintrag der eigenen Sprache anzupassen. Not long ago several friends invited me to go skydiving. The prospect of jumping out of a plane made my stomach tighten and my mouth go dry, but reluctantly I agreed.... In many ways the horror genre promises a similar experience: the anticipation of terror, the mixture of fear and exhilaration as events unfold, the opportunity to confront the unpredictable and dangerous, the promise of relative safety (both in the context of a darkened theater and through a narrative structure that lasts for finite amoung of time and/or number of pages), and the feeling of relief and regained control when it's over. -Introduction, Thomas Fahy | |
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▾Literaturhinweise Literaturhinweise zu diesem Werk aus externen Quellen. Wikipedia auf Englisch (4)▾Buchbeschreibungen Sitting on pins and needles, anxiously waiting to see what will happen next, horror audiences crave the fear and exhilaration generated by a terrifying story; their anticipation is palpable. But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror's ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley's Frankenstein (1818), horror films of the 1930s, Stephen King's novels, Stanley Kubrick's adaptation of The Shining (1980, and Alfred Hitchcock's Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote's In Cold Blood (1965), Patrick Süskind's Perfume (1985), and James Purdy's Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and "torture-horror" films of the last decade, including Saw (2004), Hostel (2005), The Devil's Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen. The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror's various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today's media-hungry society. ▾Bibliotheksbeschreibungen Keine Bibliotheksbeschreibungen gefunden. ▾Beschreibung von LibraryThing-Mitgliedern
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-Horror and the Idea of Everyday Life: On Skeptical Threats in Psycho and The Birds by Philip J. Nickel
-Through a Mirror, Darkly: Art-Horror as a Medium for Moral Reflection by Philip Tallon
-The Justification for Torture-Horror: Retribution and Sadism in Saw, Hostel and The Devil's Rejects by Jeremy Morris
-Hobbes, Human Nature, and the Culture of American Violence in Truman Capote's In Cold Blood by Thomas Fahy
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-From Domestic Violence to the Nightmare of History: Uncanny Eruptions of Violence in King's and Kubrick's Versions of The Shining by John Lutz
-"Hot with Rapture and Cold with Fear": Grotesque, Sublime and Postmodern Transformations of Patrick Suskind's Perfume by Susann Cokal
-Shock Value: A Deleuzean Encounter with James Purdy's Narrow Rooms by Robert F. Gross
-Making Monsters: The Philosophy of Reproduction in Mary Shelley's Frankenstein and the Universa Films Frankenstein and The Bride of Frankenstein by Ann C. Hall
-Kitsch and Camp and Things That Go Bump in the Dark; or, Sontag and Adorno at the (Horror) Movies by David MacGregor Johnston