Unearthing the fearful flesh and sinful skins at the heart of gothic horror, Jack Morgan rends the genre’s biological core from its oft-discussed psychological elements and argues for a more transhistorical conception of the gothic, one negatively related to comedy. The Biology of Horror: Gothic Literature and Film dissects popular examples from the gothic literary and cinematic canon, exposing the inverted comic paradigm within each text. Morgan’s study begins with an extensive treatment of comedy as theoretically conceived by Suzanne Langer, C. L. Barber, and Mikhail Bakhtin. Then, Morgan analyzes the physical and mythological nature of horror in inverted comic terms, identifying a biologically grounded mythos of horror. Motifs such as sinister loci, languishment, masquerade, and subversion of sensual perception are contextualized here as embedded in an organic reality, resonating with biological motives and consequences. Morgan also devotes a chapter to the migration of the gothic tradition into American horror, emphasizing the body as horror’s essential place in American gothic. The bulk of Morgan’s study is applied to popular gothic literature and films ranging from high gothic classics like Matthew Lewis’s The Monk, Ann Radcliffe’s The Mysteries of Udolpho, Charles Maturin’s Melmoth the Wanderer, and Mary Shelley’s Frankenstein, to later literary works such as Poe’s macabre tales, Melville’s “Benito Cereno,” J.S. Le Fanu’s Uncle Silas, H.P. Lovecraft’s “The Shadow over Innsmouth,” Shirley Jackson’s The Haunting of Hillhouse, Stephen King’s Salem’s Lot, and Clive Barker’s The Damnation Game. Considered films include Nosferatu, Invasion of the Body Snatchers, Friday the 13th, Halloween, Night of the Living Dead, Angel Heart, The Stand, and The Shining. Morgan concludes his physical examination of the Gothic reality with a consideration born of Julia Kristeva’s theoretical rubric which addresses horror’s existential and cultural significance, its lasting fascination, and its uncanny positive—and often therapeutic—direction in literature and film.
Therefore, one of the significant aspects of cosmic horror by which Lovecraft
seeks to go beyond Poe is to specify more precisely the horror of biological
revulsion. That is, just as Whitman went beyond Emerson by balancing attention
on both ...
Author: D. Perry
Poe, 'The House of Usher,' and the American Gothic discusses the interrelation between Poe's tale and the modern horror genre, demonstrating how Poe's work continues to serve as a model for exploring the deepest and most primitive corners of the human mind and heart.
The Powers of Horror, a book that, like Douglas' Purity and Danger, shows no
interest at all in horror cinema but from which ... In abjection we have a concept
that has the potential to help us understand the biological nature of many horror ...
Author: Peter Hutchings
Category: Performing Arts
The Horror Film is an in-depth exploration of one of the most consistently popular, but also most disreputable, of all the mainstream film genres. Since the early 1930s there has never been a time when horror films were not being produced in substantial numbers somewhere in the world and never a time when they were not being criticised, censored or banned. The Horror Film engages with the key issues raised by this most contentious of genres. It considers the reasons for horror's disreputability and seeks to explain why despite this horror has been so successful. Where precisely does the appeal of horror lie? An extended introductory chapter identifies what it is about horror that makes the genre so difficult to define. The chapter then maps out the historical development of the horror genre, paying particular attention to the international breadth and variety of horror production, with reference to films made in the United States, Britain, Italy, Spain and elsewhere. Subsequent chapters explore: The role of monsters, focusing on the vampire and the serial killer. The usefulness (and limitations) of psychological approaches to horror. The horror audience: what kind of people like horror (and what do other people think of them)? Gender, race and class in horror: how do horror films such as Bride of Frankenstein, The Texas Chainsaw Massacre and Blade relate to the social and political realities within which they are produced? Sound and horror: in what ways has sound contributed to the development of horror? Performance in horror: how have performers conveyed fear and terror throughout horror's history? 1970s horror: was this the golden age of horror production? Slashers and post-slashers: from Halloween to Scream and beyond. The Horror Film throws new light on some well-known horror films but also introduces the reader to examples of noteworthy but more obscure horror work. A final section provides a guide to further reading and an extensive bibliography. Accessibly written, The Horror Film is a lively and informative account of the genre that will appeal to students of cinema, film teachers and researchers, and horror lovers everywhere.
... and psychoanalysis is by no means accepted as an universal truth. In The Biology of Horror: Gothic Literature and Film, Jack Morgan treats the horror
generated by the xii screening the gothic.
Author: Lisa Hopkins
Publisher: University of Texas Press
Category: Performing Arts
Filmmakers have long been drawn to the Gothic with its eerie settings and promise of horror lurking beneath the surface. Moreover, the Gothic allows filmmakers to hold a mirror up to their own age and reveal society's deepest fears. Franco Zeffirelli's Jane Eyre, Francis Ford Coppola's Bram Stoker's Dracula, and Kenneth Branagh's Hamlet are just a few examples of film adaptations of literary Gothic texts. In this ground-breaking study, Lisa Hopkins explores how the Gothic has been deployed in these and other contemporary films and comes to some surprising conclusions. For instance, in a brilliant chapter on films geared to children, Hopkins finds that horror resides not in the trolls, wizards, and goblins that abound in Harry Potter, but in the heart of the family. Screening the Gothic offers a radical new way of understanding the relationship between film and the Gothic as it surveys a wide range of films, many of which have received scant critical attention. Its central claim is that, paradoxically, those texts whose affiliations with the Gothic were the clearest became the least Gothic when filmed. Thus, Hopkins surprises readers by revealing Gothic elements in films such as Sense and Sensibility and Mansfield Park, as well as exploring more obviously Gothic films like The Mummy and The Fellowship of the Ring. Written in an accessible and engaging manner, Screening the Gothic will be of interest to film lovers as well as students and scholars.
"S. S. Prawer's Caligari's Children," Film Quarterly 33, no. 4 (1980): 39. Despite
his recent cognitive approach, Noel Carroll's earlier essay on horror still remains
more suggestive. See "Nightmare and the Horror Film: The Symbolic Biology of ...
Author: Tony Williams
Publisher: Associated University Presse
Category: Literary Criticism
Hearths of Darkness: The Family in the American Horror Film is the first major book-length study of the family horror film. Far from being a marginal or nonexistent element in the horror genre, as some critics argue, author Tony Williams states that it is really one of the genre's most important features.
Frankenstein ( 1931 ) , in addition to being a most important early - sound
American horror film , is a good illustration of Carroll ' s concept of the biological
parameters for horror . Unit 4 : Defining the Horror Genre In this unit , the students
The Historical Dictionary of Horror Cinema traces the development of the genre from its beginnings to the present. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries.
Author: Jorden Morup JorgensenPublish On: 2016-04-19
These conclusions were greeted with horror from most researchers in the area of
the fish-tetrapod transition but they did stimulate renewed interest in the Dipnoi (
lungfishes) from a phylogenetic point of view. The first section of the 1987 book ...
Author: Jorden Morup Jorgensen
Publisher: CRC Press
The Biology of Lungfishes presents an up-to-date collection of reviews on some of the most important aspects of the life of lungfishes. The book draws on contributions from well-known experts with a long record of scientific work within their respective fields. The general natural history of the three genera of lungfishes, the fascinating fossil story, and modern ideas of lungfish phylogeny form the main part of the text. The book also covers the morphology and physiology of various organs.
More provocatively Berenstein suggests that, “in the [horror film's] figure of the
monster...presumptions of sexual difference on the basis of biology are as fraught
with ambiguities and are as historically constructed as those based on gender ...
Author: Harry M. Benshoff
Publisher: John Wiley & Sons
Category: Performing Arts
This cutting-edge collection features original essays by eminent scholars on one of cinema's most dynamic and enduringly popular genres, covering everything from the history of horror movies to the latest critical approaches. Contributors include many of the finest academics working in the field, as well as exciting younger scholars Varied and comprehensive coverage, from the history of horror to broader issues of censorship, gender, and sexuality Covers both English-language and non-English horror film traditions Key topics include horror film aesthetics, theoretical approaches, distribution, art house cinema, ethnographic surrealism, and horror's relation to documentary film practice A thorough treatment of this dynamic film genre suited to scholars and enthusiasts alike
The Rhetoric of Horror in the Book of Jeremiah Amy Kalmanofsky Andrew Mein,
Claudia V. Camp. The text rhetorically asks : Does the ... The first is that horror
rhetoric conveys what Morgan terms “ biological failure . ” A horrific world is a
Author: Amy Kalmanofsky
Publisher: T&T Clark
Among the many strategies of persuasive speech, biblical prophets often employ a rhetoric of horror. Prophets use verbal threats and graphic images of destruction to terrify their audience. Contemporary horror theory provides insight into the rhetoric of horror employed by the prophets. In this book, Amy Kalmanofsky applies horror theory to the book of Jeremiah and considers the nature of biblical horror and the objects that provoke horror, as well as the ways texts like Jeremiah work to elicit horror from their audience. Kalmanofsky begins by analyzing the emotional response of horror as reflected in characters' reactions to terrifying entities in the book of Jeremiah. Horror, she concludes, is a composite emotion consisting of fear in response to a threatening entity and a corresponding response of shame either directed toward one's self or felt on behalf of another. Having considered the nature of horror, she turns to the objects that elicit horror and consider their ontological qualities and the nature of the threat they pose. There are two central monstrous figures in the book of Jeremiah-aggressor God and defeated Israel. Both of these monsters refuse to be integrated into and threaten to disintegrate the expected order of the universe. She then presents a close, rhetorical reading of Jeremiah 6 and consider the way this text works to horrify its audience. The book concludes by considering fear's place within religious experience and the theological implications of a rhetoric that portrays God and Israel as monsters.
... Fossil See Fossil hominids Homoplasy See also Evolution ( Biology )
Homosexual desire in Revolutionary Russia . ... J . The biology of horror
Psychological aspects The Horror film and psychoanalysis Horror tales See also
Ghost stories ...
Horror. Cinema. Lindsay Hallam The mad scientist is a popular figure found in horror films from many nations and cultures. Capable of monstrous acts of
violence and transgression, these scientists possessa twisted morality, deeming
Author: Dana Och
Category: Social Science
This volume investigates the horror genre across national boundaries (including locations such as Africa, Turkey, and post-Soviet Russia) and different media forms, illustrating the ways that horror can be theorized through the circulation, reception, and production of transnational media texts. Perhaps more than any other genre, horror is characterized by its ability to be simultaneously aware of the local while able to permeate national boundaries, to function on both regional and international registers. The essays here explore political models and allegories, questions of cult or subcultural media and their distribution practices, the relationship between regional or cultural networks, and the legibility of international horror iconography across distinct media. The book underscores how a discussion of contemporary international horror is not only about genre but about how genre can inform theories of visual cultures and the increasing permeability of their borders.
Now, having passed through the horror phase of their relationship, which in this
case has forced them to deal with the nature of life, and to undergo trials and
perils proving themselves right for each other, they can marry. Moreau is a mad ...
Author: Bruce F. Kawin
Publisher: Anthem Press
Category: Performing Arts
Horror films can be profound fables of human nature and important works of art, yet many people dismiss them out of hand. ‘Horror and the Horror Film’ conveys a mature appreciation for horror films along with a comprehensive view of their narrative strategies, their relations to reality and fantasy and their cinematic power. The volume covers the horror film and its subgenres – such as the vampire movie – from 1896 to the present. It covers the entire genre by considering every kind of monster in it, including the human.
Hector's biology alsomerits comparison to the Frankenstein Monster. This
DemiGodclass robot isacollection ofmetallic spare parts and pure braintissue
grown inalab,not organiccorpse parts given life.But much likethe Frankenstein
Author: John Kenneth Muir
Publisher: Hal Leonard Corporation
Category: Performing Arts
(FAQ). Horror Films FAQ explores a century of ghoulish and grand horror cinema, gazing at the different characters, situations, settings, and themes featured in the horror film, from final girls, monstrous bogeymen, giant monsters and vampires to the recent torture porn and found footage formats. The book remembers the J-Horror remake trend of the 2000s, and examines the oft-repeated slasher format popularized by John Carpenter's Halloween (1978) and Friday the 13th (1980). After an introduction positioning the horror film as an important and moral voice in the national dialogue, the book explores the history of horror decade by decade, remembering the women's liberation horrors of the 1970s, the rubber reality films of the late 1980s, the serial killers of the 1990s, and the xenophobic terrors of the 9/11 age. Horror Films FAQ also asks what it means when animals attack in such films as The Birds (1963) or Jaws (1975), and considers the moral underpinnings of rape-and-revenge movies, such as I Spit on Your Grave (1978) and Irreversible (2002). The book features numerous photographs from the author's extensive personal archive, and also catalogs the genre's most prominent directors.
40 The Alien series has developed during a period of revolution in molecular biology, DNA coding andthe politics of ... of the extraordinary revival of Lovecraft's
particular take on biological body horror inmodern Gothic/sciencefiction fusions.
Author: Roger Luckhurst
Publisher: Macmillan International Higher Education
Category: Performing Arts
A legendary fusion of science fiction and horror, Alien (1979) is one of the most enduring modern myths of cinema – its famously visceral scenes acting like a traumatic wound we seem compelled to revisit. Tracing the constellation of talents that came together to produce the film, Roger Luckhurst examines its origins as a monster movie script called Star Beast, dismissed by many in Hollywood as B-movie trash, through to its afterlife in numerous sequels, prequels and elaborations. Exploring the ways in which Alien compels us to think about otherness, Luckhurst demonstrates how and why this interstellar slasher movie, this old dark house in space, came to coil itself around our darkest imaginings about the fragility of humanity. This special edition features original cover artwork by Marta Lech.
These narratives reveal the fragility of the human—its body and biology, its
reason andmind, itsholdonthe world—and itsinevitable replacement by
somethingelse, something stronger and more adaptable. Bothour horrorof and
fascination for ...
Author: K. Jackson
Category: Social Science
Through a wide spectrum of horror sub-genres, this book examines how the current state of horror reflects the anxieties in Western culture. Horror films bring them to a mass audience and offer new figures for the nameless faceless 'antagonist' that plagues us and provides material with which to build a different understanding of ourselves.
Thecastle didn't have doctors; it had Linda: a former schoolteacher with ageneral
grasp of biology and little in the way of equipment and medication. For those
bleeding internally like Colin, there was nothing to be done. Their lives
Author: K.R. Griffiths
Publisher: K.R. Griffiths
The worst is over. All that remains for the survivors hiding in the castle is to gather supplies to prevent starvation. It is a problem they believe they can solve without further loss of life. But there is another problem: the castle has come to the attention of somebody else. Somebody with strength in numbers. And among that number is a man who might just hold the key to destroying the Infected. A man supposed to be dead already... Zombie, Horror, Post-apocalyptic, Action, Dystopian, Series, Science Fiction
He graduated as a Licensed Practical Nurse and got his state certificate. He also
enrolled at the University of Pennsylvania and earned credits in chemistry,
composition, anthropology, history, sociology, biology, commercial law, and
Author: Ken Englade
Publisher: St. Martin's Paperbacks
Category: True Crime
Serial killer Gary Heidnik's name will live on in infamy, and his home, 3520 North Marshall Street in Philadelphia, is a house tainted with the memory of unbelievable horrors. What police found there was an incredible nightmare made real. Four young women had been held captive--some for four months--half-naked and chained. They had been tortured, starved, and repeatedly raped. But more grotesque discoveries lay in the kitchen: human limbs frozen, a torso burned to cinders, an empty pot suspiciously scorched... This is not a story for the faint-hearted. Cellar of Horror is a shocking true account of the self-proclaimed minister with a long history of mental illness, who preyed upon the susceptible in a bizarre plan to create his own "baby factory." It is a macabre web spun around money, power, and religion, tangled with courtroom drama and lawyers' tactics, sure to send a chill into your very soul.
Author: Barbara Smith ChalouPublish On: 2006-12-20
Dar, win's racial recapitulation model, a combination of evolutionary biology and
embryology, was popularized by his younger contemporaries, Fritz Muller (1821
—1897) and Ernst Haeckel (1834—1919). Did Hoffmann also believe that ...
Author: Barbara Smith Chalou
Publisher: Lexington Books
Category: Literary Criticism
A recent upsurge in interest in Der Struwwelpeter, written by Heinrich Hoffman has initiated a new wave of spin-offs, parodies, and retellings of these immensely popular stories. Hoffman's style, which is instructive and moralistic, coupled with the sadistic content of his works lend a unique quality to the stories that we don't see in contemporary children's literature. Struwwelpeter: Humor or Horror? is a critical analysis of the now infamous Struwwelpeter stories. While Hoffman intended his depictions of amputated limbs and burning children to be humorous and to warn children against misbehavior, some find the punishments can be excessively vicious. Looking beyond the history of child rearing practices and children's literature, Barbara Smith Chalou considers the socio-historic context in which the book was written and makes comparisons to contemporary children's fare that is similarly violent, but intended to be humorous.