By Carl R. Green, William R. Sanford, Howard Schroeder
Whereas the wounded and fearful Monster he created spreads terror during the state facet, Dr. Frankenstein is persuaded by means of a colleague to create a girl to be the Monster's bride.
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Whereas the wounded and fearful Monster he created spreads terror through the nation facet, Dr. Frankenstein is persuaded by means of a colleague to create a girl to be the Monster's bride.
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Extra info for Bride of Frankenstein (Movie Monsters Series)
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.