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.
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.
Author: Jack Morgan
Publisher: SIU Press
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.
Significantly, much of this biological horror relates specifically to female biology, with menstruation, pregnancy and childbirth all providing potent sources of horror and the monstrous. (See Creed, 1993 for a discussion of this.) ...
Author: Peter Hutchings
Category: Performing Arts
From Jack the Ripper to Frankenstein, Halloween customs to Alexander McQueen collections, Fashioning Horror examines how terror is fashioned visually, symbolically, and materially through fashion and costume, in literature, film, and real life. With a series of case studies that range from sensationalist cinema and Slasher films to true crime and nineteenth-century literature, the volume investigates the central importance of clothing to the horror genre, and broadens our understanding of both material and popular culture. Arguing that dress is fundamental to our understanding of character and setting within horror, the chapters also reveal how the grotesque and horrific is at the center of fashion itself, with its potential for instability, disguise, and carnivalesque subversion. Packed with original research, and bringing together a range of international scholars, the book is the first to thoroughly examine the aesthetics of terror and the role of fashion in the construction of horror.
Cultural Experience of Contemporary Horror Cinema, 173–99, London: I. B. Tauris. Dery, M. (1999), “Cotton Candy Autopsy: Deconstructing Psycho-Killer Clowns,” in M. Dery (ed.), The Pyrotechnic Insanitarium: American Culture on the Brink ...
Author: Julia Petrov
Publisher: Bloomsbury Publishing
Psychoanalytic theory has been the subject of attacks from philosophers, cultural critics and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema in a series of essays that debate its legitimacy, utility and validity as applied to the horror genre. It distinguishes itself from previous work in this area through the self-consciousness with which psychoanalytic concepts are employed and the theorization that coexists with interpretations of particular horror films and subgenres.
The Biology of Horror: Gothic Literature and Film. Carbondale, IL: Southern Illinois University Press. Morris, Gary (2000). “Graverobbers and Drag Queens from Outer Space! Four Ed Wood Greats on DVD.” Bright Lights Film Journal 28: ...
Author: Steven Jay Schneider
Publisher: Cambridge University Press
Category: Performing Arts
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.
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 ...
Author: D. Perry
Since the mainstreaming of horror in the 1970s, journalists have warned against the dangers of increasingly explicit forms of violent entertainment. Xavier Aldana Reyes takes a very different stance in Body Gothic by celebrating the transgressive qualities of visceral texts. He considers relevant popular literary and filmic movements of the past three decades and reads them as updates in a long Gothic tradition that goes back to the eighteenth century. The book contains case studies of key texts in splatterpunk, body horror, the new avant-pulp, the slaughterhouse novel, torture porn and surgical horror.
Corporeal Transgression in Contemporary Literature and Horror Film Xavier Aldana Reyes ... Morgan, Jack, The Biology of Horror: Gothic Literature and Film (Carbondale, IL: Southern Illinois University Press, 2002).
Author: Xavier Aldana Reyes
Publisher: University of Wales Press
Category: Literary Criticism
The first comprehensive scholarly treatment of bed bugs since 1966 This book updates and expands on existing material on bed bugs with an emphasis on the worldwide resurgence of both the common bed bug, Cimex lectularius L., and the tropical bed bug, Cimex hemipterus (F.). It incorporates extensive new data from a wide range of basic and applied research, as well as the recently observed medical, legal, and regulatory impacts of bed bugs. Advances in the Biology and Management of Modern Bed Bugs offers new information on the basic science and advice on using applied management strategies and bed bug bioassay techniques. It also presents cutting-edge information on the major impacts that bed bugs have had on the medical, legal, housing and hotel industries across the world, as well as their impacts on public health. Advances in the Biology and Management of Modern Bed Bugs offers chapters that cover the history of bed bugs; their global resurgence; their impact on society; their basic biology; how to manage them; the future of these pests; and more. Provides up-to-date information for the professional pest manager on bed bug biology and management Features contributions from 60 highly experienced and widely recognized experts, with 48 unique chapters A one-stop-source that includes historic, technical, and practical information Serves as a reference book for academic researchers and students alike Advances in the Biology and Management of Modern Bed Bugs is an essential reference for anyone who is impacted by bed bugs or engaged in managing bed bugs, be it in an academic, basic or applied scientific setting, or in a public outreach, or pest management role, worldwide.
Bed bugs are no longer used as a simile to emphasis despair as part of a wider storyline; rather, they have become the key element themselves. This is particularly exemplified in the horror genre play BEDBUGS!!! mentioned above ...
Author: Stephen L. Doggett
Publisher: John Wiley & Sons
The Historical Dictionary of Gothic Literature covers its history through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 200 cross-referenced entries on the core texts, central authors, and the recurrent conventions that have distinguished writing in the genre for 250 years. This book is an ideal access point for students, researchers, or anyone interested in the history of Gothic Literature.
Historical Dictionary of Horror Cinema. Lanham, MD: Scarecrow Press, 2008. Jancovich, Mark, ed. Horror: The Film Reader. London: Routledge, 2002. Morgan, Jack. The Biology of Horror: Gothic Literature and Film.
Author: William Hughes
Publisher: Rowman & Littlefield
Category: Literary Criticism
Hitherto classified as a form of genre fiction, or as a particular aesthetic quality of literature by H. P. Lovecraft, the weird has now come to refer to a broad spectrum of artistic practices and expressions including fiction, film, television, photography, music, and visual and performance art. Largely under-theorized so far, The American Weird brings together perspectives from literary, cultural, media and film studies, and from philosophy, to provide a thorough exploration of the weird mode. Separated into two sections – the first exploring the concept of the weird and the second how it is applied through various media – this book generates new approaches to fundamental questions: Can the weird be conceptualized as a generic category, as an aesthetic mode or as an epistemological position? May the weird be thought through in similar ways to what Sianne Ngai calls the zany, the cute, and the interesting? What are the transformations it has undergone aesthetically and politically since its inception in the early twentieth century? Which strands of contemporary critical theory and philosophy have engaged in a dialogue with the discourses of and on the weird? And what is specifically “American” about this aesthetic mode? As the first comprehensive, interdisciplinary study of the weird, this book not only explores the writings of Lovecraft, Caitlín Kiernan, China Miéville, and Jeff VanderMeer, but also the graphic novels of Alan Moore, the music of Captain Beefheart, the television show Twin Peaks and the films of Lily Amirpour, Matthew Barney, David Lynch, and Jordan Peele.
Cowan, D. E. (2008), Sacred Terror: Religion and Horror on the Silver Screen, Waco: Baylor University Press. ... Morgan, J. (2002), The Biology of Horror: Gothic Literature and Film, Carbondale: Southern Illinois University Press.
Author: Julius Greve
Publisher: Bloomsbury Publishing
Category: Performing Arts