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Grief in Contemporary Horror Cinema
Screening Loss
Sous la direction de Erica Joan Dymond
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Description de l'ouvrage:
Over the course of the past two decades, horror cinema around the globe has become increasingly preoccupied with the concept of loss. Grief in Contemporary Horror Cinema: Screening Loss examines the theme of grief as it is represented in both indie and mainstream films, including works such as Jennifer Kent's watershed film The Babadook, Juan Antonio Bayona's award-sweeping El orfanato, Ari Aster's genre-straddling Midsommar, and Lars von Trier's visually stunning Melancholia. Analyzing depictions of grief ranging from the intimate grief of a small family to the collective grief of an entire nation, the essays illustrate how these works serve to provide unity, catharsis, and - sometimes - healing.
À propos de l'auteur :
Erica Joan Dymond is assistant professor of English at East Stroudsburg University.
Revue de Presse:
Grief in Contemporary Horror Cinema: Screening Loss is an accessible and wide-ranging exploration of grief as represented in many of the most interesting recent horror films on the topic. Of particular interest is the collection#39;s inclusion of insightful essays addressing the socialization of grief through gender, sexuality, the family, and colonialism and how these complexities manifest in the themes and aesthetics of horror films. -- Johanna Isaacson, Modesto Junior College
Grief in Contemporary Horror Cinema: Screening Loss offers a welcome multinational approach to the role played by, and complex and contradictory representations of, grief and loss in this genre. The various contributions demonstrate how universal themes of grief and loss are particularised in individual films and are often deployed to examine legacy and contemporary issues of national, familial and individual vulnerability. The book ultimately provides a valuable lens through which to examine a wide range of subgenres from arthouse to gothic horror. -- Sarah Arnold, Maynooth University and author of Maternal Horror Film: Melodrama and Motherhood
This collection is fascinating, poignant, and timely, a true gift to scholars and horror fans living in a grieving world that has been subjected to a deadly pandemic for more than two years. In her introduction, editor Erica Joan Dymond begins with the premise that ldquo;horror cinema has become more nuanced over the last twenty years.rdquo; The chapters that follow provide compelling arguments for why this is the case. As contributor Asper Taylor Ballas contends, ldquo;Grief and the elaborate human response to it, stands as one of the most defining human qualities, and, therefore, contending with grief means a deep, thoughtful, and even horrifying look into humanityrsquo;s core.rdquo; Focusing on new, cutting-edge films about which little has been written, and international in scope, Grief in Contemporary Horror Cinema is sure to set the stage for future discussions of grief, loss, and horror. -- Kimberly Jackson, Florida Gulf Coast University
Voir le site internet de l'éditeur Lexington Books
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The Psychodynamics of Trauma and Modern Horror Cinema (2025)
I Am What Haunts Me
The Cinematic Boogeyman (2024)
From the Fairytale to the Slasher Film
Affective Intensities and Evolving Horror Forms (2020)
From Found Footage to Virtual Reality
de Adam Daniel
Primal Roots of Horror Cinema (2019)
Evolutionary Psychology and Narratives of Fear
Dark Dreams 2.0 (2009)
A Psychological History of the Modern Horror Film from the 1950s to the 21st Century
Psycho, The Birds and Halloween (2013)
The Intimacy of Terror in Three Classic Films
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