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
Table of Contents
Introduction Thomas Fahy 1
Horror and the Idea of Everyday Life: On Skeptical Threats in Psycho and The Birds Philip J. Nickel 14
Through a Mirror, Darkly: Art-Horror as a Medium for Moral Reflection Philip Tallon 33
The Justification of Torture-Horror: Retribution and Sadism in Saw, Hostel, and The Devil's Rejects Jeremy Morris 42
Hobbes, Human Nature, and the Culture of American Violence in Truman Capotes In Cold Blood Thomas Fahy 57
Making Their Presence Known: TV's Ghost-Hunter Phenomenon in a "Post-" World Jessica O'Hara 72
The Vampire with a Soul: Angel and the Quest for Identity Amy Kind 86
Ideological Formations of the Nuclear Family in The Hills Have Eyes Lorena Russell 102
Zombies of the World, Unite: Class Struggle and Alienation in Land of the Dead John Lutz 121
The Fall of the House of Ulmer: Europe vs. America in the Gothic Vision of The Black Cat Paul A. Cantor 137
From Domestic Nightmares to the Nightmare of History: Uncanny Eruptions of Violence in King's and Kubrick's Versions of The Shining John Lutz 161
"Hot with Rapture and Cold with Fear": Grotesque, Sublime, and Postmodern Transformations in Patrick Süskinds Perfume Susann Cokal 179
Shock Value: A Deleuzean Encounter with James Purdy's Narrow Rooms Robert F. Gross 199
Making Monsters: The Philosophy of Reproduction in Mary Shelley's Frankenstein and the Universal Films Frankenstein and The Bride of Frankenstein Ann C. Hall 212
Kitsch and Camp and Things That Go Bump in the Night; or, Sontag and Adorno at the (Horror) Movies David MacGregor Johnston 229