By Harry M. Benshoff
This state-of-the-art assortment positive factors unique essays by way of eminent students on one among cinema's such a lot dynamic and enduringly well known genres, protecting every thing from the heritage of horror video clips to the most recent serious approaches.
• members comprise a few of the best teachers operating within the box, in addition to intriguing more youthful scholars
• various and accomplished insurance, from the historical past of horror to broader problems with censorship, gender, and sexuality
• Covers either English-language and non-English horror movie traditions
• Key issues contain horror movie aesthetics, theoretical ways, distribution, artwork residence cinema, ethnographic surrealism, and horror's relation to documentary movie practice
• a radical therapy of this dynamic movie style fitted to students and fans alike
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Extra info for A Companion to the Horror Film
For those of us not blinkered by a benighted theory of human motivation, when we consider painful art in general, it seems highly plausible to suggest that people are sometimes motivated by more than pleasure. Once again, think of sad songs. Although they may eventually help us work through our emotions, I doubt that this plays any motivational role whatsoever for the lovelorn. Rather, those suffering from heartache seem to want to intensify the pain (Smuts, 2011). The unintentional effects are one thing; the motives another.
All the same, there is something about the ubiquity of phallic symbols in our culture that must have an effect on any woman who grows up in it. Certainly it has an effect on men: one does not need to look very far (in horror films, or in culture in general) to see evidence of male fears of the female body, which is seen to be already castrated and, therefore, potentially castrating to men who encounter it. Indeed, one might say that all violence in horror films is always about castration and punishment, and therefore always about gender.
Supernatural horror and realist horror have different charms. As do the films in the same broad category. Simply consider the differences between the work of David Cronenberg and Dario Argento. We are likely dealing with a genre too diverse to canvas in a single account. But we were able to develop a plausible solvent for the paradox of horror: It is unlikely that the fear and disgust felt in response to most horror fiction is indeed painful, or unpleasant. It is typically fun to be scared by a horror movie.
A Companion to the Horror Film by Harry M. Benshoff