Horror Film And Psychoanalysis

Psychoanalytic theory has been the subject of attacks from philosophers, cultural critics and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema in a series of essays that debate its legitimacy, utility and validity as applied to the horror genre. It distinguishes itself from previous work in this area through the self-consciousness with which psychoanalytic concepts are employed and the theorization that coexists with interpretations of particular horror films and subgenres.

This cutting-edge collection features original essays by eminent scholars on one of cinema's most dynamic and enduringly popular genres, covering everything from the history of horror movies to the latest critical approaches. Contributors include many of the finest academics working in the field, as well as exciting younger scholars Varied and comprehensive coverage, from the history of horror to broader issues of censorship, gender, and sexuality Covers both English-language and non-English horror film traditions Key topics include horror film aesthetics, theoretical approaches, distribution, art house cinema, ethnographic surrealism, and horror's relation to documentary film practice A thorough treatment of this dynamic film genre suited to scholars and enthusiasts alike

In almost all critical writings on the horror film, woman is conceptualised only as victim. In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, T

Maternal Horror Film: Melodrama and Motherhood examines the function of the mother figure in horror film. Using psychoanalytic film theory as well as comparisons with the melodrama film, Arnold investigates the polarized images of monstrous and sacrificing mother.

Robin Wood—one of the foremost critics of cinema—has laid the groundwork for anyone writing about the horror film in the last half-century. Wood’s interest in horror spanned his entire career and was a form of popular cinema to which he devoted unwavering attention. Robin Wood on the Horror Film: Collected Essays and Reviews compiles over fifty years of his groundbreaking critiques. In September 1979, Wood and Richard Lippe programmed an extensive series of horror films for the Toronto International Film Festival and edited a companion piece: The American Nightmare: Essays on the Horror Film — the first serious collection of critical writing on the horror genre. Robin Wood on the Horror Film now contains all of Wood’s writings from The American Nightmare and nearly everything else he wrote over the years on horror—published in a range of journals and magazines—gathered together for the first time. It begins with the first essay Wood ever published, "Psychoanalysis of Psycho," which appeared in 1960 and already anticipated many of the ideas explored later in his touchstone book, Hitchcock’s Films. The volume ends, fittingly, with, "What Lies Beneath?," written almost five decades later, an essay in which Wood reflects on the state of the horror film and criticism since the genre’s renaissance in the 1970s. Wood’s prose is eloquent, lucid, and convincing as he brings together his parallel interests in genre, authorship, and ideology. Deftly combining Marxist, Freudian, and feminist theory, Wood’s prolonged attention to classic and contemporary horror films explains much about the genre’s meanings and cultural functions. Robin Wood on the Horror Film will be an essential addition to the library of anyone interested in horror, science fiction, and film genre.

'Phallic Panic is not only an impressive and elegant work of scholarship; it breathes new life into debates around the horror film, illuminating the genre's eerie and unsettling power. Like her groundbreaking The Monstrous-Feminine, Creed's new book is destined to become a standard text in the field.' Pam Cook, Professor of European Film and Media, University of Southampton 'Barbara Creed asks the question "what does man want?" and takes us on an exhilarating trip through the Freudian uncanny and horror cinema to provide the answers. This is a lucid and compelling account of male monstrosity which exhumes the uncanny and makes it come to life all over again as something "primal", perverse and chillingly subversive.' Ken Gelder, author of Reading The Vampire and The Horror Reader Vampires, werewolves, cannibals and slashers-why do audiences find monsters in movies so terrifying? In Phallic Panic, Barbara Creed ranges widely across film, literature and myth, throwing new light on this haunted territory. Looking at classic horror films such as Frankenstein, The Shining and Jack the Ripper, Creed provocatively questions the anxieties, fears and the subversive thrills behind some of the most celebrated monsters. This follow-up to her influential book The Monstrous-Feminine is an important and enjoyable read for scholars and students of film, cultural studies, psychoanalysis and the visual arts.

In full acknowledgment of the important cultural significance of film, this outstanding collection of psychoanalytic essays brings a methodological and theoretical sophistication to an absorbing range of film material. From Wild Strawberries and Vertigo to Titanic and Being John Malkovich, this intelligent and enjoyable collection succeedes in combining clarity and accessibility with a deeply informed scholarship.

The Couch and the Silver Screen is a collection of original contributions which explore European cinema from psychoanalytic perspectives. Both classic and contemporary films are presented and analysed by a variety of authors, including leading cinema historians and theorists, psychoanalysts with a specific expertise in the interpretation of films, as well as the filmmakers themselves. This composite approach offers a fascinating insight into the world of cinema. The Couch and the Silver Screen is illustrated with stills throughout and Andrea Sabbadini's introduction provides a theoretical and historical context for the current state of psychoanalytic studies of films. The book is organised into four clear sections - Set and Stage, Working Through Trauma, Horror Perspectives and Documenting Internal Worlds - which form the basis for engaging chapters including: easily readable and jargon-free film reviews. essays on specific subjects such as perspectives on the horror film genre and adolescent development. transcripts of live debates among film directors including Bernardo Bertolucci, actors, critics and psychoanalysts discussing films. The cultural richness of the material presented, combined with the originality of multidisciplinary dialogues on European cinema, makes this book appealing not only to film buffs, but also to professionals, academics and students interested in the application of psychoanalytic ideas to the arts.