The Philosophy of Horror (Philosophy Of Popular Culture)

From the Inside Flap Whether through film, television, or popular fiction, horror engages audiences like no other genre. From the classic novel to the latest slasher flick, horror has struck fear in the hearts of generations of readers and viewers across the centuries. The thrill and exhilaration generated by a terrifying story not only excite the senses but also raise important questions about safety, justice, suffering, and other human concerns. The Philosophy of Horror examines why horror fascinates fans by exploring the social, moral, and artistic statements of the genre. Editor Thomas Fahy has assembled a team of scholars to investigate topics as diverse as the genre itself. From classic films such as Psycho (1960) and The Shining (1980) to contemporary and highly controversial torture-horror films like Hostel (2005) and the Saw series, the contributing authors trace the development of horror as a form of art and entertainment. The Philosophy of Horror explores the underlying philosophical concepts of classic horror fiction, such as Mary Shelley's Frankenstein, as well as works that have been largely ignored in philosophical circles, including Truman Capote's In Cold Blood and Patrick Süskind's Perfume. Together the essays follow the evolution of the horror genre across the decades, investigating the theoretical underpinnings of each work in the context of its time. This diverse collection explores horror from a variety of perspectives and draws on a wide range of interpretive approaches, including feminist, postcolonial, Marxist, and psychoanalytic criticism. The result is a comprehensive study of fundamental questions about morality, identity, social constructions, and other topics raised in horror narratives. The Philosophy of Horror confirms what horror fans have known for decades -- horror is not only entertaining but also deeply insightful. Inviting readers to ponder this genre's various manifestations since the late 1700s, this collection of probing essays allows fans and philosophy buffs alike to view horror narratives with fresh eyes and consider their dark themes within the framework of philosophy. The Philosophy of Horror is a celebration of a strange, compelling, and disturbing tradition in art and entertainment. Horror not only excites and entertains audiences; it also leaves them searching for answers. About the Author Thomas Fahy, director of the American Studies Program at Long Island University, is author or editor of numerous publications, including Staging Modern American Life, Freak Shows and the Modern American Imagination, and two recent horror novels, Sleepless and The Unspoken. He lives in New York City. 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. --publisher Description. Introduction / Thomas Fahy -- Horror And The Idea Of Everyday Life: On Skeptical Threats In Psycho And The Birds / Philip J. Nickel -- Through A Mirror, Darkly: Art-horror As A Medium For Moral Reflection / Philip Tallon -- The Justification Of Torture-horror: Retribution And Sadism In Saw, Hostel, And The Devil's Rejects / Jeremy Morris -- Hobbes, Human Nature, And The Culture Of American Violence In Truman Capote's In Cold Blood / Thomas Fahy -- Making Their Presence Known: Tv's Ghost-hunter Phenomenon In A Post- World / Jessica O'hara -- The Vampire With A Soul: Angel And The Quest For Identity / Amy Kind -- Ideological Formations Of The Nuclear Family In The Hills Have Eyes / Lorena Russell -- Zombies Of The World, Unite: Class Struggle And Alienation In Land Of The Dead / John Lutz -- The Fall Of The House Of Ulmer: Europe Vs. America In The Gothic Vision Of The Black Cat / Paul A. Cantor -- From Domestic Nightmares To The Nightmare Of History: Uncanny Eruptions Of Violence In King's And Kubrick's Versions Of The Shining / John Lutz -- Hot With Rapture And Cold With Fear: Grotesque, Sublime, And Postmodern Transformations In Patrick Süskind's Perfume / Susann Cokal -- Shock Value: A Deleuzean Encounter With James Purdy's Narrow Rooms / Robert F. Gross -- Making Monsters: The Philosophy Of Reproduction In Mary Shelley's Frankenstein And The Universal Films Frankenstein And The Bride Of Frankenstein / Ann C. Hall -- Kitsch And Camp And Things That Go Bump In The Night; Or, Sontag And Adorno At The (horror) Movies / David Macgregor Johnston. Edited By Thomas Fahy. Includes Bibliographical References And Index. Contents 6 Acknowledgments 8 Introduction 10 Horror and the Idea of Everyday Life 23 Through a Mirror, Darkly 42 The Justification of Torture-Horror 51 Hobbes, Human Nature, and the Culture of American Violence in Truman Capote’s In Cold Blood 66 Making Their Presence Known 81 The Vampire with a Soul 95 Ideological Formations of the Nuclear Family in The Hills Have Eyes 111 Zombies of the World, Unite 130 The Fall of the House of Ulmer 146 From Domestic Nightmares to the Nightmare of History 170 “Hot with Rapture and Cold with Fear” 188 Shock Value 208 Making Monsters 221 Kitsch and Camp and Things That Go Bump in the Night; or, Sontag and Adorno at the (Horror) Movies 238 Contributors 254 Index 258 Noted historian Robert G. Kaufman contends that the terrorist attacks of September 11, 2001, shattered the optimism so prevalent in the United States during the tranquil and prosperous 1990s. President George W. Bush's controversial grand strategy for wag