Why Horror Seduces

Why do humans feel the need to scream at horror films? In Why Horror Seduces, author Matthias Clasen looks to evolutionary social science to show how the horror genre is a product of human nature

"Films about chainsaw killers, demonic possession, and ghostly intruders. Screaming audiences with sleepless nights or sweat-drenched nightmares in their immediate future. What's going on here? Presumably, almost everybody has experience with horror films. Almost everybody has sat through a terrifying motion picture and suffered the after-effects, such as hypervigilance and sleep disturbances. Some people would even characterize themselves as horror fans. But what about the others-the ones who are curious about horror films, but also very, very nervous about them? This book delves into the science of horror cinema in an attempt to address common concerns about the genre. Why is the jump scare so effective, and so dreaded? What are the effects of horror films on mental and physical health? Why do horror films so often cause nightmares? Aren't horror films immoral ... and stupid, too? Are horror films bad for children and adolescents? What does the current profusion of horror films say about our society? Should we be concerned? Or can horror films be a force for good-do horror films have health benefits, can they be aesthetically and morally valuable, and might they even have therapeutic psychological and cultural effects? The book addresses these questions in short, readable chapters, peppered with vivid anecdotes and examples and supported by scientific findings. It notes that while horror films can have negative effects, they can also help people confront and manage fear"--

Providing an indispensable resource for academics as well as readers interested in the evolution of horror fiction in the 20th century, this book provides a readable yet critical guide to global horror fiction and authors. Horror Fiction in the 20th Century encompasses the world of 20th-century horror literature and explores it in a critical but balanced fashion. Readers will be exposed to the world of horror literature, a truly global phenomenon during the 20th century. Beginning with the modern genre's roots in the 19th century, the book proceeds to cover 20th-century horror literature in all of its manifestations, whether in comics, pulps, paperbacks, hardcover novels, or mainstream magazines, and from every country that produced it. The major horror authors of the century receive their due, but the works of many authors who are less well-known or who have been forgotten are also described and analyzed. In addition to providing critical assessments and judgments of individual authors and works, the book describes the evolution of the genre and the major movements within it. Horror Fiction in the 20th Century stands out from its competitors and will be of interest to its readers because of its informed critical analysis, its unprecedented coverage of female authors and writers of color, and its concise historical overview.

"This is Alice. She was taken by Ray five years ago. She thought she knew how her story would end. She was wrong."-- [P.4] Cover.

Something strange is happening on British shores.Britain has a long history of folk tales, ghost stories and other uncanny fictions, and these literary ley lines are still shimmering beneath the surface of this green and pleasant land. Every few generations this strangeness crawls out from the dark places of the British imagination, seeping into our art and culture. We are living through such a time.This Dreaming Isle is an anthology of new horror stories and weird fiction with a distinctly British flavour. It collects together fifteen brand new horrifying or unsettling stories that draw upon the landscape and history of the British Isles for their inspiration. Some explore the realms of myth and legend, others are firmly rooted in the present, engaging with the country's forgotten spaces.Featuring new and exclusive stories from:Ramsey Campbell, multi-award winning author of over 40 novelsAndrew Michael Hurley, author of The Loney and Devil's DayCatriona Ward, author of Rawblood and Little EveRobert Shearman, World Fantasy Award, British Fantasy Award and Shirley Jackson Award winning author of four collections Jenn Ashworth, author of Fell, Cold Light and moreGareth E. Rees, author of Marshland and The Stone TideTim Lebbon, screenwriter and author of over 35 books including Dusk, The Silence and RelicsAlison Littlewood, author of The Crow Garden, The Hidden People and more Aliya Whiteley, author of The Beauty, The Arrival of Missives and The Loosening Skin (forthcoming from Unsung Stories)Stephen Volk, screenwriter and author of Whitstable, Monsters in the Heart and moreKirsty Logan, author of The Gloaming, The Gracekeepers, A Portable Shelter and The Rental Heart James Miller, author of UnAmerican Activities, Lost Boys and Sunshine StateJeannette Ng, author of Under the Pendulum SunRichard V. Hirst, co-author of The Night VisitorsAlison Moore, author of The Lighthouse, Missing and moreGary Budden, author of Hollow ShoresAngela Readman, author of Don't Try This at Home and The Book of Tides

Ecohorror represents human fears about the natural world—killer plants and animals, catastrophic weather events, and disquieting encounters with the nonhuman. Its portrayals of animals, the environment, and even scientists build on popular conceptions of zoology, ecology, and the scientific process. As such, ecohorror is a genre uniquely situated to address life, art, and the dangers of scientific knowledge in the Anthropocene. Featuring new readings of the genre, Fear and Nature brings ecohorror texts and theories into conversation with other critical discourses. The chapters cover a variety of media forms, from literature and short fiction to manga, poetry, television, and film. The chronological range is equally varied, beginning in the nineteenth century with the work of Edgar Allan Poe and finishing in the twenty-first with Stephen King and Guillermo del Toro. This range highlights the significance of ecohorror as a mode. In their analyses, the contributors make explicit connections across chapters, question the limits of the genre, and address the ways in which our fears about nature intersect with those we hold about the racial, animal, and bodily “other.” A foundational text, this volume will appeal to specialists in horror studies, Gothic studies, the environmental humanities, and ecocriticism. In addition to the editors, the contributors include Kristen Angierski, Bridgitte Barclay, Marisol Cortez, Chelsea Davis, Joseph K. Heumann, Dawn Keetley, Ashley Kniss, Robin L. Murray, Brittany R. Roberts, Sharon Sharp, and Keri Stevenson.

This pioneering volume offers an expansive introduction to the relatively new field of evolutionary studies in imaginative culture. Contributors from psychology, neuroscience, anthropology, and the humanities probe the evolved human imagination and its artefacts. The book forcefully demonstrates that imagination is part of human nature. Contributors explore imaginative culture in seven main areas: Imagination: Evolution, Mechanisms and Functions Myth and Religion Aesthetic Theory Music Visual and Plastic Arts Video Games and Films Oral Narratives and Literature Evolutionary Perspectives on Imaginative Culture widens the scope of evolutionary cultural theory to include much of what “culture” means in common usage. The contributors aim to convince scholars in both the humanities and the evolutionary human sciences that biology and imaginative culture are intimately intertwined. The contributors illuminate this broad theoretical argument with comprehensive insights into religion, ideology, personal identity, and many particular works of art, music, literature, film, and digital media. The chapters “Imagination, the Brain’s Default Mode Network, and Imaginative Verbal Artifacts” and “The Role of Aesthetic Style in Alleviating Anxiety About the Future” are licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/).