Dr. Cynthia Freeland, University of Houston                              Seminar in Philosophy of Art, Spring 2003

Selected Bibliography on Horror

I. Philosophical Readings

Noël Carroll

Noël Carroll, The Philosophy of Horror, or Paradoxes of the Heart (New York and London: Routledge, 1990).

Cynthia Freeland

The Naked and the Undead: Evil and the Appeal of Horror (Westview Press, October 1999).

“Horror and Art Dread,” forthcoming in The Horror Film, Stephen Prince, ed. (Rutgers, 2003).

“The Slasher’s Blood Lust,” forthcoming in Dark Thoughts: Philosophic Reflections on Cinematic Horror, Steven Jay Schneider and Dan Shaw, Eds. (Lanham, MD: Scarecrow Press, 2003). Reprinted from The Naked and the Undead, Chapter Five.

“Ordinary Horror on Reality TV,” forthcoming in Narration across Media, Marie-Laure Ryan, ed. (Nebraska, 2003).

"The Uncanny in The Double Life of Véronique," Film and Philosophy (Special Edition on Horror, Summer 2001): 34-50. Also reprinted (revised) in Psychoanalysis and the Horror Film: Freud’s Worst Nightmares, Steven Jay Schneider, ed. (Cambridge: Cambridge University Press, forthcoming 2003).

"Feminist Frameworks for Horror Films," Post-Theory: Reconstructing Film Studies, Noël Carroll and David Bordwell, eds. (University of Wisconsin Press, 1996), pp. 195-218.

"Realist Horror," Philosophy and Film (see above), pp. 126-142. Reprinted (abridged) in Aesthetics: The Big Questions, Carolyn Korsmeyer, ed. (Blackwell, 1998), pp. 283-93.

Steven Jay Schneider

As author:

“Monsters as (Uncanny) Metaphors: Freud, Lakoff, and the Representation of Monstrosity in Cinematic Horror,” in Horror Film Reader, 167-91.

“Towards an Aesthetics of Cinematic Horror”, draft, 2003.

“Horror” (Genre Overview), in Understanding Film Genres.

Steven Schneider, “Uncanny Realism and the Decline of the Modern Horror Film,” Paradoxa: Studies in World Literary Genres 3.34 (1997): 417-28.

As editor:

Sara Pendergast, Tom Pendergast, and Steven Jay Schneider (eds.), Understanding Film Genres: Film through Genres, Genre through Films (New York: McGraw-Hill, forthcoming 2003).

Steven Jay Schneider and Tony Williams, eds., Horror International (Detroit: Wayne State University Press, forthcoming 2003).

Steven Jay Schneider, ed., Post Script: Essays in Film and the Humanities, Special Issue: Realist Horror Cinema 21.3 (Summer 2002).

Steven Jay Schneider (ed.), Freud’s Worst Nightmares: Psychoanalysis and the Horror Film (Cambridge: Cambridge University Press, forthcoming 2003).

Others

Berys Gaut, “The Paradox of Horror,” British Journal of Aesthetics 33.4 (1993): 333-45.

Robert C. Solomon, “Real Horror,” in Steven Jay Schneider and Dan Shaw, eds, Dark Thoughts: Philosophic Reflections on Cinematic Horror (Lanham, MD: Scarecrow Press, 2003).

Kendall Walton, “Fearing Fictions”, Journal of Philosophy, vol. 75, no.1 (January 1978.

II. Other Relevant Works

Thomas Austin, “Gone With the Wind Plus Fangs: The Assembly, Marketing and

Reception of Bram Stoker’s Dracula,” Framework: The Journal of Cinema and Media 41 (Autumn 1999).

Brigid Cherry, “Refusing to Refuse to Look: Female viewers of the horror film,” in Richard Maltby and and Melvyn Stokes (eds.), Identifying Hollywood’s Audiences: Cultural Identity and the Movies (London: BFI Publishing, 1999.

Carol J. Clover, Men, Women, and Chainsaws: Gender in the Modern Horror Film (Princeton: Princeton University Press, 1992).

Jonathan Lake Crane, Terror and Everyday Life: Singular Moments in the History of the Horror Film (Thousand Oaks, CA: Sage Publications, 1994).

Barbara Creed, The Monstrous-Feminine: Film, Feminism, and Psychoanalysis (London: Routledge, 1993).

Barry Keith Grant (ed.), The Dread of Difference: Gender and the Horror Film (Austin: University of Texas, 1996.

Torben Grodal, Moving Pictures: A New Theory of Film Genres, Feelings, and Cognition (Oxford: Clarendon Press, 1997)

Joan Hawkins, Cutting Edge: Art-Horror and the Horrific Avant-Garde (Minneapolis:

University of Minnesota Press, 2000).

Matt Hills, “An Event-Based Definition of Art-Horror,” forthcoming in Dark Thoughts.

Stephen King, Danse Macabre (New York: Berkley Books, 1981.

John McCarty, Splatter Movies: Breaking the Last Taboo of the Screen (New York: St. Martin’s Press, 1984.

Isabel Cristina Pinedo, Recreational Terror: Women and the Pleasures of Horror Film Viewing (Albany: State University of New York Press, 1997).

Stephen Prince, “Violence and Psychophysiology in Horror Cinema,” forthcoming in Freud’s Worst Nightmares.

David J. Skal, The Monster Show: A Cultural History of Horror (New York: W.W. Norton & Co., 1993); Mark Jancovich, Horror (London: B.T. Batsford, 1992).

Ed S. Tan, Emotion and the Structure of Narrative Film: Film as an Emotion Machine, trans. Barbara Fasting (Mahwah, New Jersey: Lawrence Erlbaum Associates, 1996).

Andrew Tudor, Monsters and Mad Scientists: A Cultural History of the Horror Movie (Oxford: Basil Blackwell, 1989).

James B. Weaver, III and Ron Tamborini, eds., Horror Films: Current Research on Audience Preferences and Reactions (Mahwah, New Jersey: Lawrence Erlbaum Associates, 1996.

Tony Williams, Hearths of Darkness: The Family in the American Horror Film (Madison: Fairleigh Dickinson University Press, 1996).