ENGL C101 Guide for Gary Enns: Books

Conveys a mature appreciation for horror films along with a comprehensive view of their narrative strategies, their relations to reality and fantasy and their cinematic power. The volume covers the horror film and its subgenres – such as the vampire movie – from 1896 to the present. It covers the entire genre by considering every kind of monster in it, including the human.

Prince has collected essays reviewing the history of the horror film and the psychological reasons for its persistent appeal, as well as discussions of the developmental responses of young adult viewers and children to the genre.

his 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.

Explores what human traits monsters represent and why they are so ubiquitous in people's imaginations and share so many features across different cultures.Using colorful and absorbing evidence from virtually all times and places, Monsters is the first attempt by an anthropologist to delve into the mysterious, frightful abyss of mythical beasts and to interpret their role in the psyche and in society.

Through a historical sampling of monsters, these essays argue that our fascination for the monstrous testifies to our continued desire to explore difference and prohibition.

In almost all critical writings on the horror film, woman is conceptualised only as victim. In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.

The Myth of Evil explores a contradiction: the belief that human beings cannot commit acts of pure evil, that they cannot inflict harm for its own sake, and the evidence that pure ‘evil' truly is a human capacity. Acts of horror are committed not by inhuman ‘monsters', but by ordinary human beings.

This is a book about how horror films prompt our reflections on evil and its allure.

Monsters embody our deepest anxieties and vulnerabilities, Asma argues, but they also symbolize the mysterious and incoherent territory beyond the safe enclosures of rational thought. Exploring sources as diverse as philosophical treatises, scientific notebooks, and novels, Asma unravels traditional monster stories for the clues they offer about the inner logic of an era's fears and fascinations.

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.

Henderson casts an unfazed gaze at ugliness, tracing its long-standing grasp on our cultural imagination and highlighting all the peculiar ways it has attracted us to its repulsion. Henderson explores the ways we have perceived ugliness throughout history, from ancient Roman feasts to medieval grotesque gargoyles, from Mary Shelley's Frankenstein to the Nazi Exhibition of Degenerate Art.

Drawing on literary and artistic representations, as well as medical, forensic, empirical, and sociopolitical perspectives, this rich and eerie history presents the vampire as a strikingly complex being that has been used to express the traumas and contradictions of the human condition.

Explaining the functional seduction of horror entertainment, this book draws on cutting-edge findings in the evolutionary social sciences, showing how the horror genre is a product of human nature. Integrating the study of horror with the sciences of human nature, the book claims that horror entertainment works by targeting humans' adaptive tendency to find pleasure in make-believe, allowing a high intensity experience within a safe context.

Essays portray the zombie not as a singular cultural figure or myth but show how the undead represent larger issues: the belief in an afterlife, fears of contagion and technology, the effect of capitalism and commodification, racial exclusion and oppression, dehumanization. With its diverse disciplinary and methodological approaches, Zombie Theory thinks through what the walking undead reveal about our relationships to the world and to each other.