In recent years, 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.
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