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 Suskind'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.
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