Fear Cultural Anxiety And Transformation

This collection was inspired by the observation that film remakes offer us the opportunity to revisit important issues, stories, themes, and topics in a manner that is especially relevant and meaningful to contemporary audiences. Like mythic stories that are told again and again in differing ways, film remakes present us with updated perspectives on timeless ideas. While some remakes succeed and others fail aesthetically, they always say something about the culture in which_and for which_they are produced. Contributors explore the ways in which the fears of death, loss of self, and bodily violence have been expressed and then reinterpreted in such films and remakes as Invasion of the Body Snatchers, Night of the Living Dead, and Dawn of the Dead. Films such as Rollerball, The Ring, The Grudge, The Great Yokai Wars, and Insomnia are discussed as well because of their ability to give voice to collective anxieties concerning cultural change, nihilism, and globalization. While opening on a note that emphasizes the compulsion of filmmakers to revisit issues concerning fear and anxiety, this collection ends by using films like Solaris, King Kong, Star Trek, Doom, and Van Helsing to suggest that repeated confrontation with these issues allows the opportunity for creative and positive transformation.

The contributors to this volume explore the themes of fear, cultural anxiety, and transformation as expressed in remade horror, science fiction, and fantasy films. While opening on a note that emphasizes the compulsion of filmmakers to revisit issues concerning fear and anxiety, this collection ends with a suggestion that repeated confrontation with these issues allows the opportunity for creative and positive transformation.

Frank Furedi returns to the theme of Fear in our society and culture. In 1997, Frank Furedi published a book called Culture of Fear. It was widely acclaimed as perceptive and prophetic. Now Furedi returns to his original theme, as most of what he predicted has come true. In How Fear Works, Furedi seeks to explain two interrelated themes: why has fear acquired such a morally commanding status in society today and how has the way we fear today changed from the way that it was experienced in the past? Furedi argues that one of the main drivers of the culture of fear is unravelling of moral authority. Fear appears to provide a provisional solution to moral uncertainty and is for that reason embraced by a variety of interests, parties and individuals. Furedi predicts that until society finds a more positive orientation towards uncertainty the politicisation of fear will flourish. Society is continually bombarded with the message that the threats it faces are incalculable and cannot be managed or contained. The ascendancy of this outlook has been paralleled by the cultivation of helplessness and passivity – all this has heightened people's sense of powerlessness and anxiety. As a consequence we are constantly searching for new forms of security, both physical and ontological. What are the drivers of fear, what is the role of the media in its promotion, and who actually benefits from this culture of fear? These are some of the issues Furedi tackles to explain the current predicament. He believes that through understanding how fear works, we can encourage attitudes that will help bring about a less fearful future.

Fear in its many facets appears to constitute an intriguing and compelling subject matter for writers and screenwriters alike. The contributions address fictional representations and explorations of fear in different genres and different periods of literary and cultural history. The topics include representations of political violence and political fear in English Renaissance culture and literature; dramatic representations of fear and anxiety in English Romanticism; the dramatic monologue as an expression of fears in Victorian society; cultural constructions of fear and empathy in George Eliot's Daniel Deronda (1876) and Jonathan Nasaw's Fear Itself (2003); facets of children's fears in twentieth- and twenty-first-century stream-of-consciousness fiction; the representation of fear in war movies; the cultural function of horror film remakes; the expulsion of fear in Kazuo Ishiguro's novel Never Let Me Go and fear and nostalgia in Mohsin Hamid's post-9/11 novel The Reluctant Fundamentalist.

Thirty years ago, it was estimated that less than five percent of the population had an anxiety disorder. Today, some estimates are over fifty percent, a tenfold increase. Is this dramatic rise evidence of a real medical epidemic? In All We Have to Fear, Allan Horwitz and Jerome Wakefield argue that psychiatry itself has largely generated this "epidemic" by inflating many natural fears into psychiatric disorders, leading to the over-diagnosis of anxiety disorders and the over-prescription of anxiety-reducing drugs. American psychiatry currently identifies disordered anxiety as irrational anxiety disproportionate to a real threat. Horwitz and Wakefield argue, to the contrary, that it can be a perfectly normal part of our nature to fear things that are not at all dangerous--from heights to negative judgments by others to scenes that remind us of past threats (as in some forms of PTSD). Indeed, this book argues strongly against the tendency to call any distressing condition a "mental disorder." To counter this trend, the authors provide an innovative and nuanced way to distinguish between anxiety conditions that are psychiatric disorders and likely require medical treatment and those that are not--the latter including anxieties that seem irrational but are the natural products of evolution. The authors show that many commonly diagnosed "irrational" fears--such as a fear of snakes, strangers, or social evaluation--have evolved over time in response to situations that posed serious risks to humans in the past, but are no longer dangerous today. Drawing on a wide range of disciplines including psychiatry, evolutionary psychology, sociology, anthropology, and history, the book illuminates the nature of anxiety in America, making a major contribution to our understanding of mental health.

The films of the New French Extremity have been reviled by critics but adored by fans and filmmakers. Known for graphically brutal depictions of sex and violence, the subgenre emerged from the French art-house scene in the late 1990s and became a cult phenomenon, eventually merging into the horror genre where it became associated with American torture porn. Decidedly French in flavor, the films seek to reveal the dark side of French society. This book provides an in-depth study of New French Extremity, focusing on such films as Trouble Every Day (2001), Irreversible (2002), Twentynine Palms (2003), High Tension (2003) and Martyrs (2008). The author explores the social implications of cinematic cruelty presented not as "violent films" but as "films about violence."

With sequels, prequels, remakes, spin-offs, or copies of successful films or franchises dominating film and television production, it sometimes seems as if Hollywood is incapable of making an original film or TV show. These textual pluralities or multiplicities—while loved by fans who flock to them in droves—tend to be dismissed by critics and scholars as markers of the death of high culture. Cycles, Sequels, Spin-offs, Remakes, and Reboots takes the opposite view, surveying a wide range of international media multiplicities for the first time to elucidate their importance for audiences, industrial practices, and popular culture. The essays in this volume offer a broad picture of the ways in which cinema and television have used multiplicities to streamline the production process, and to capitalize on and exploit viewer interest in previously successful and/or sensational story properties. An impressive lineup of established and emerging scholars talk seriously about forms of multiplicity that are rarely discussed as such, including direct-to-DVD films made in Nigeria, cross-cultural Japanese horror remakes, YouTube fan-generated trailer mash-ups, and 1970s animal revenge films. They show how considering the particular bonds that tie texts to one another allows us to understand more about the audiences for these texts and why they crave a version of the same story (or character or subject) over and over again. These findings demonstrate that, far from being lowbrow art, multiplicities are actually doing important cultural work that is very worthy of serious study.