By Mark Jancovich
Horror, The movie Reader brings jointly key articles to supply a finished source for college students of horror cinema. Mark Jancovich's creation lines the improvement of horror movie from The cupboard of Dr. Caligari to The Blair Witch Project, and descriptions the most severe debates. Combining vintage and up to date articles, every one part explores a vital factor of horror movie, and contours an editor's creation outlining the context of debates.
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Additional info for Horror, The Film Reader (In Focus: Routledge Film Readers)
Sample text
Finally, I restate the two elementary and closely interconnected Freudian theses that structure this article: that in a society built on monogamy and family there will be an enormous surplus of repressed sexual energy, and that what is repressed must always strive to return. [. ] * A game popular in British fairgrounds actually entitled ‘Breaking up the Happy Home’ is of great interest in this connection: there are no prizes, the participant’s gratification deriving purely from the smashing of china and domestic artifacts with the balls for which they pay.
Why horror? 2 NOËL CARROLL There is a theoretical question about horror which, although not unique to horror, nevertheless is not one that readily arises with respect to other popular genres, such as mystery, romance, comedy, the thriller, adventure stories, and the western. The question is: why would anyone be interested in the genre to begin with? Why does the genre persist? , how can we explain its very existence, for why would anyone want to be horrified, or even art-horrified? This question, moreover, becomes especially pressing if my analysis of the nature of horror is accepted.
I do think that the best account that can be given of the paradox of horror for the majority of works of horrific art will be very much like the one that I have already offered. However, it is true that it fails to cover non-narrative horror and horror fictions little concerned with the drama of disclosure. To deal with these cases more needs to be said; but the more-thatneeds-to-be-said fits with what has already been said in a way that enriches while also extending the theory developed so far. Central to my approach has been the idea that the objects of horror are fundamentally linked with cognitive interests, most notably with curiosity.