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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.
- Sales Rank: #2643419 in Books
- Brand: Brand: The University Press of Kentucky
- Published on: 2010-04-16
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .75" w x 5.98" l, 1.13 pounds
- Binding: Hardcover
- 272 pages
- Used Book in Good Condition
Review
"The Philosophy of Horror captures some of the lively conversations occurring at the intersection of horror and philosophy. The volume collects a group of original essays that engage a wide variety of artifacts―TV shows like Ghost Hunters, classic films like The Black Cat, and novels such as In Cold Blood―and take up a wide variety of theoretical questions ranging from the ethics of retribution, the notion of the sublime, and human nature."―Kendall R. Phillips, author of Projected Fears: Horror Films and American Culture"
"A deadly serious contribution to scholarship on horror and a deliciously evil way of engaging philosophy."―Eric Bronson, author of Poker and Philosophy: Pocket Rockets and Philosopher Kings"
"The Philosophy of Horror provides new insights into a familiar genre. And, like the Cedar Point commercial that comes on each autumn, advertising family-friendly October weekends, it's 'fun scary, not scary scary.'"―The Plain Dealer"
"[The Philosophy of Horror] demonstrates how horror films essentially make us philosophical skeptics for a couple hours before we return to everyday life. . . . it's "fun scary, not scary scary." It definitely made me chuckle."―The Plain Dealer"
"It's precisely the extreme nature of horror that makes it such a lightning rod for debates about hot-topic issues within American culture―like racism, women's rights, consumerism and sexuality―along with broader issues of morality....Philosophy of Horror addresses the latter, with contributions about the hidden messages of everything from The Birds to Hostel."―Thomas Rogers,Salon"
"Fahyexamines the reasons why audiences continue to revisit horror and why fear is the underpinning of some of American culture's most well known television and film productions and works of literature."―tucsoncitizen.com"
"The Philosophy of Horror is an intelligently written, perceptive, engrossing work that attempts to answer many disturbing questions. The arguments are presented in a clear manner and are supported by appropriate examplesThe [book] is recommended not only for enthusiasts of the genre, but also for anyone who has ever wondered why some people enjoy horror films. The book raises some questions about our own psyche worth pondering about."―Mayra Calvani, New York Journal of Books"
"[Fahy] gathers essays by 12 philosophers, literary scholars, and others on the appeal and repulsion of horror films and the questions they raise about fear, safety, justice, and suffering."―Moving Image Archives"
"A selection of 14 essays exploring ways horror plays with philosophical concepts, primarily looking at films and TV, but also fiction."―Locus"
"The philosophy of Horror demonstrate the range and diversity of purposes served by horror films and fiction."―Booksquawk.com"
"If you wish to have your horizons broadened, and new ideas brought up and explored, then you'd do well to pick this up."―Rock Star Journalist"―
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.
Most helpful customer reviews
4 of 4 people found the following review helpful.
Readable Highbrow Horror
By S. P. Miskowski
When I read Thomas Roger's Salon interview with Thomas Fahy I was seized with a desire to read this book. I received a review copy of the hardback edition for Shock Room Horror.
Fahy and his fellow writers display impressive academic authority on topics ranging from "Ideological Formations of the Nuclear Family in The Hills Have Eyes" to "Zombies of the World, Unite: Class Struggle and Alienation in Land of the Dead" and "Grotesque, Sublime, and Postmodern Transformations in Patrick Suskind's Perfume." Given the background and professional credits of these scholarly authors you might think this is not going to be a light or entertaining read. I had the same feeling when I looked at the table of contents. Once I began reading, however, I was delighted to find that most of the essays are thought provoking and far more accessible than I imagined.
Highlights:
In "Horror and the Idea of Everyday Life: On Skeptical Threats in Psycho and The Birds" Philip J. Nickel poses the argument that "horror's bite...is a malicious ripping-away of...intellectual trust, exposing our vulnerabilities in relying on the world and on other people." This ripping-away is, however, far from detrimental to our well-being. In fact it is necessary for us to occasionally admit the delusion of our security in order to achieve "clarity about our actual situation" and to "realize that we can still go on, even in the absence of perfect certainty."
Thomas Fahy wrote "Hobbes, Human Nature, and the Culture of American Violence in Truman Capote's In Cold Blood." Fahy begins with Thomas Hobbes' assertion that a sovereign must provide moral justice in a world otherwise made chaotic by our natural tendency toward self-preservation at the expense of others. He then turns to the narrative of In Cold Blood to examine what happens in a close-knit society when the sovereign (in this case, the highly respected farmer Herb Clutter) is removed by an act of random, apparently inexplicable violence.
John Lutz considers the manner in which Stanley Kubrick opened up on a larger canvas the themes of masculinity, cycles of violence, and oppression in his adaptation of Stephen King's novel. This chapter is titled "From Domestic Nightmares to the Nightmare of History: Uncanny Eruptions of Violence in King's and Kubrick's Versions of The Shining." I strongly recommend the essay to fans who have seen the film numerous times, because I think you will find surprising, new insights into an adaptation that has been unfairly maligned by some critics over the years. It only deepened my appreciation for the ways in which Kubrick and his writing collaborator Diane Johnson took time to study the themes and motifs in King's novel. The team didn't simply shoot a movie version of the book. They created a richly layered, dynamic visual equivalent for every significant aspect of the story. Their version provided a historical and social context framing the domestic abuse, without sermonizing.
Anyone who rails against the genre because it presents disturbing and indelible images, or displays the worst of human actions, fails to recognize the valid and complex reasons why horror has lasted so long, and the extent to which it can both validate and challenge our deepest emotions. Seen together, the essays in The Philosophy of Horror demonstrate the range and diversity of purposes served by horror films and fiction.
0 of 0 people found the following review helpful.
Four Stars
By Amazon Customer
Excellent.
0 of 4 people found the following review helpful.
I always love non fiction and psychology is one of my fave ...
By Phobius
Still reading. I read a lot of books at once and move around from book to book. I always love non fiction and psychology is one of my fave non fiction type books.
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