By Harry M. Benshoff
This state of the art assortment good points unique essays via eminent students on considered one of cinema's so much dynamic and enduringly well known genres, protecting every little thing from the heritage of horror videos to the newest serious approaches.
• individuals contain some of the best teachers operating within the box, in addition to interesting more youthful scholars
• assorted and entire insurance, from the background of horror to broader problems with censorship, gender, and sexuality
• Covers either English-language and non-English horror movie traditions
• Key issues comprise horror movie aesthetics, theoretical ways, distribution, paintings condo cinema, ethnographic surrealism, and horror's relation to documentary movie practice
• a radical remedy of this dynamic movie style suited for students and fans alike
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Extra info for A Companion to the Horror Film
It is not clear that the fear and disgust are instrumental to some kind of cognitive insight or to any kind of value. Nor is it clearly constitutive of any kind of value. Hence, we should take a look at the second 10 Aaron Smuts assumption, that the fear and disgust felt in response to horror are unpleasant. This is questionable. On reflection, it seems that the fear and disgust involved in attending to horror fictions are not typically painful (or unpleasant). Rather, they seem enjoyable (Neill, 1992).
They go to the theater to see fictional torture. There is no disguised wish fulfillment here. It is out in the open. If sadism is indeed involved, it is flagrant. Issue 3. How does Horror Frighten Audiences? ” is not a philosophical problem as stated. It is largely an empirical question best answered by film scholars and psychologists. A comprehensive answer would require a long, psychological detour. I will not take that route. An alternate approach to the question is available. Although this issue is largely an empirical matter, there are important conceptual controversies concerning the nature of the emotions.
To the contrary, it appears that fear is precisely what we seek from a good horror movie. It is not the price, but the reward. This suggests that one of two assumptions is wrong. Either (i) people are not principally after pleasure when they go to horror movies. Or (ii) the fear and disgust we experience in response to horror is not painful or unpleasant. To take the first option is to reject the general hedonic compensatory model. One might be tempted to reject this model for good reasons. It seems to assume a wildly implausible theory of motivation, namely psychological hedonism (or egoism)—the theory that the ultimate source of all human motivation is to seek pleasure and avoid pain.
A Companion to the Horror Film by Harry M. Benshoff