Horror is a popular genre or style in many different forms of art. In this essay I propose a definition of horror that is meant to capture our intuitions about the extension of this category over a variety of forms of art. In particular, I claim that horror is individuated by a specific atmosphere and mood, rather than by any singular entity in the horror representation.

Words like 'terrorism' and 'war' are no longer capable of encompassing the scope of cntemporary violence. With this book, Cavarero effectively renders such terms obsolete. She introduces a new word, 'horrorism', to capture the experience of violence.

For over a century, philosophers have argued that philosophy is impossible or useless, or both. Although the basic notion dates back to the days of Socrates, there is still heated disagreement about the nature of truth, reality, knowledge, the good, and God. This may make little practical difference to our lives, but it leaves us with a feeling of radical uncertainty, a feeling described by Kolakowski as "metaphysical horror." "The horror is this," he says, "if nothing truly exists (...) except the Absolute, the Absolute is nothing if nothing truly exists except myself, I am nothing." The aim of this book, for Kolakowski, is finding a way out of this seeming dead end. In a trenchant analysis that serves as an introduction to nearly all of Western philosophy, Kolakowski confronts these dilemmas head on through examinations of several prominent philosophers including Descartes, Spinoza, Husserl, and many of the Neo-Platonists. He finds that philosophy may not provide definitive answers to the fundamental questions, yet the quest itself transforms our lives. It may undermine most of our certainties, yet it still leaves room for our spiritual yearnings and religious beliefs. The final sentence of the book captures the hopefulness that has survived the horror of nothingness when Kolakowski asks: "Is it not reasonable to suspect that if existence were pointless and the universe devoid of meaning, we would never have achieved not only the ability to imagine otherwise, but even the ability to entertain this very thought--to wit, that existence is pointless and the universe devoid of meaning?" The answer, of course, is clear. Now it is up to readers to take up the challenge of his arguments. (shrink)

Are horror films immoral? Gianluca Di Muzio argues that horror films of a certain kind are immoral because they undermine the reactive attitudes that are responsible for human agents being disposed to respond compassionately to instances of victimization. I begin with this argument as one instance of what I call the Argument from Reactive Attitudes (ARA), and I argue that Di Muzio’s attempt to identify what is morally suspect about horror films must be revised to provide the (...) most persuasive interpretation of the ARA. I then argue that the ARA provides a compelling standard for evaluating the moral permissibility of creating and viewing horror films, yet I note that it is an exceedingly difficult practical task evaluating the risk that these films create for our reactive attitudes. My conclusion is that the ARA provides a useful way or orienting ourselves to the complicated details of evaluating the moral status of horror films. (shrink)

An analysis of Japanese horror films from the 1990s and 2000s using Deleuzian concepts.

This article aims to provide an explication of a new conceptualisation of God's defeat of horrors (i.e., horror-defeat), and a successful solution to the Problem of Horrors—which we can term the ‘Reconciliation Account’. This specific conceptualisation will be formulated in light of the work of Marilyn McCord Adams, with an original extension of her work being made by utilising the work of Richard Swinburne and Robin Collins (amongst others), which, in combination, will provide us with a more robust solution (...) to the issue raised by horrors. (shrink)

I argue that a solution to the paradox of horror should accommodate the possibility of enjoying an aesthetic experience partly in virtue of its being painful. This possibility is typically thought to be ruled out by the very nature of pleasure and pain. I argue that this is not so for adverbial accounts of pleasure. Using Aristotle's theory of pleasure as an example of an adverbial account, I show that it is possible for to enjoy an aesthetic experience partly (...) in virtue of its being painful. (shrink)

This article provides support for the argument that horror media “works” by activating evolved cognitive and affective systems that are flexibly tailored to local socio-ecological contexts. Guided by previous work using evolutionary theory to study horror literature (e.g., Clasen 2012, 2018, 2019), I investigate horror manga’s popularity and international market, which indicate a cross-cultural preoccupation with horror transmedia that is expli­cable in terms of the form’s ability to target evolved psychological systems. Specifically, these multimodal texts elicit (...) the evolved emotions of anxiety, fear, and disgust in response to culturally specific and evolutionarily relevant narratives, characters, antagonists, and environments. Thus, horror manga reflects the myths, folklore, and religious traditions of Japanese society in addition to salient ubiquitous evolutionary threats such as predators, antisocial conspecifics, and infectious diseases. (shrink)

Americans cherish the idea that good eventually triumphs over evil. After briefly arguing that a proper understanding of the moral harm of cruelty calls into question the credibility of popular American idioms of redemption, I argue that the epistemic dynamics of horror help account for the commanding grip of this rhetoric on the popular imagination, and I suggest that this idiom has morally problematic features that warrant the attention of feminists.

이 논문은 하버마스의 공론장 이론을 새롭게 확장하기 위한 예비작업이다. 이러한 확장을 위해 아드리아나 캬바레로의????호러리즘????을 참고하여 ‘상처 받을 수 있음’(vulnerability)이라는 개념을 수용하였고, 이 논문에서 새로운 공공성과 그 중요성을 논의하는 데 핵심이 되었다. 이 개념은 인간의 보편적 존재조건을 규정하는 개념이지만, 근대적 주체의 완전함과 완전한 주체들의 대칭성을 정당화하는 개념은 아니다. 오히려 근대적 주체의 불완전함을 드러냄으로써 개별적인 주체들을 상처를 통해 서로 의존할 수 있는 주체로 만들었고, 이와 동시에 자신의 불완전함과 타자의 상처 받을 수 있음을 경험하는 가운데 슬픔과 애도를 지속해야 함을 강조함으로써, 소외된 존재들을 향한 (...) 폭력을 거부하고 중단시키는 개념이 되었다. 여기서 바로 새로운 공공성이 출현할 수 있다. 이처럼 박탈된 존재들의 귀환, 이들이 행하는 거부와 중단은 기존의 공공성에 임계를 선물하는 것이므로, 이러한 공공성을 임계적 공공성으로 개념화 했다. 임계적 공공성은 단순히 기존의 중심에 소외된 존재들을 단순히 기입하는 것이 아니라, 기존의 공공성을 완전히 재편함으로써 기존의 폭력을 중단시키려는 부단한 시도를 가능케 한다. 이를 통해 공론장의 대칭성이 비대칭성의 우선성을 근거로 탄생하며, 이 비대칭성이 기존의 공론장에 지속적인 활력을 주는 임계임을 정당화한다. 이 임계에 공적 장소에서 박탈된(privatized) 존재들이 새로운 공적 관계성을 요구하며 귀환하는 것이다. (shrink)

E allora - possiamo mantenere, anche nel nostro 'Horror Pleni' quotidiano, una consapevolezza?

Phenomenological approaches to affectivity have long recognized the vital role that emotions occupy in our lives. In this paper, I engage with Jean-Paul Sartre's well-known and highly influential theory of the emotions as it is advanced in his Sketch for a Theory of the Emotions. I examine whether Sartre's account offers two inconsistent explications of the nature of emotions. I argue that despite appearances there is a reading of Sartre's theory that is free of inconsistencies. Ultimately, I highlight a novel (...) reading of Sartre's account of the emotions: one that is both phenomenologically accurate and supported by textual evidence. (shrink)

: Americans cherish the idea that good eventually triumphs over evil. After briefly arguing that a proper understanding of the moral harm of cruelty calls into question the credibility of popular American idioms of redemption, I argue that the epistemic dynamics of horror help account for the commanding grip of this rhetoric on the popular imagination, and I suggest that this idiom has morally problematic features that warrant the attention of feminists.

This piece explores the origins of science fiction in philosophical speculation about the size of the universe, the existence of other solar systems and other galaxies, and the possibility of alien life. Science fiction helps us to grapple with the dizzying possibilities that a vast universe affords, by allowing our imagination to fill in the details.

Horror movies consistently reflect metaphorical associations between verticality and affect, as well as between brightness and affect. For example, bad events happen when movie characters are going downwards, or when lights go off. Monsters and villains emerge from below and from the darkness. And protagonists get lost and stuck in dark underground caves, dungeons, tunnels, mines, bunkers or sewers. Even movies that are primarily set above ground or in bright light have the most suspenseful scenes happening beneath the ground (...) and in the dark. An analysis of several horror movies highlights the striking consistency with which the two metaphors “EVIL IS DOWN” and “EVIL IS DARK” are used within this genre. I will argue that these metaphors help in creating fear. Moreover, I will outline how cinematic manifestations of metaphor elaborate and extend metaphorical concepts and ultimately may have a formative role in keeping metaphors alive within a culture. (shrink)

The sense of moral horror at certain deeds and the related idea of the sacred have not been given as central a place in ethical theory, theological or secular, as they have in our moral consciousness. I place them in a broader theological metaethics, in a way that I hope avoids mere taboo and provides for a rational critique of our responses. Moral horror is understood here in terms of violation of the sacred, and the sacred is understood (...) in terms of images of God. The focus on images of God is defended against a less ontological approach suggested by Ronald Dworkin's recent discussion of the sacred, and the choice of violation rather than defilement as a central concept is defended in dialogue with Jeffrey Stout's discussion of abominations. (shrink)

This chapter explores the relationship between ‘hardcore’ horror films, and the discursive context in which mainstream horror releases are being dubbed ‘extreme’. This chapter compares ‘mainstream’ and ‘hardcore’ horror with the aim of investigating what ‘extremity’ means. I will begin by outlining what ‘hardcore’ horror is, and how it differs from mainstream horror (both in terms of content and distribution). I will then dissect what ‘extremity’ means in this context, delineating problems with established critical discourses (...) about ‘extreme’ horror. Print press reviewers focus on theatrically released horror films, ignoring microbudget direct-to-video horror. As such, their adjudications about ‘extremity’ in horror begin from a limited base that misrepresents the genre. Moreover, ‘extremity’ is not a universally shared value, yet it is predominantly presented as if referring to an objective, universally agreed-upon standard. Such judgements change over time. Moreover, in contrast to marketers’ uses of ‘extreme’, press critics predominantly use the term as a pejorative. Although academics have sought to defend and contextualise particular maligned films and directors, scholars have focused on a handful of infamous examples. As I will explain, academic publishers implicitly support that narrow focus. As such, the cumulative body of scholarly work on ‘extreme’ horror inadvertently replicates print press critics’ mischaracterisation of the genre. These discursive factors limit our collective understandings of ‘horror’, its ostensible ‘extremity’. and of ‘extremity’ qua concept. Given that the discourse of ‘extremity’ is so commonly employed when censuring representations that challenge established genre conventions, it is imperative that horror studies academics attend to peripheral hardcore horror texts, and seek to develop more robust conceptual understandings of extremity. (shrink)

In this article, following a trajectory set out by Noël Carroll, Matt Hills, and Andrea Sauchelli, I propose a definition of horror, according to which something qualifies as a work of horror if and only if it centrally and demonstrably aims at provoking one or more of a particular set of negative affects. A catalog of characteristically negative affects is associated with horror—including terror, revulsion, the uncanny, and the abject—but which cannot be collapsed into any single affect. (...) Further complicating matters is that the set appears to be constantly, if slowly, mutating, so that the affects aimed at in the horror of the 1920s do not entirely overlap with those aimed at horror today, or which we might expect horror to aim at a century from now. As such, while we use “horror” as a blanket term across eras, whether some work is a work of horror will always be time-indexed. (shrink)

What do horror films reveal about social difference in the everyday world? Criticism of the genre often relies on a dichotomy between monstrosity and normality, in which unearthly creatures and deranged killers are metaphors for society's fear of the "others" that threaten the "normal." The monstrous other might represent women, Jews, or Blacks, as well as Indigenous, queer, poor, elderly, or disabled people. The horror film's depiction of such minorities can be sympathetic to their exclusion or complicit in (...) their oppression, but ultimately, these images are understood to stand in for the others that the majority dreads and marginalizes. Adam Lowenstein offers a new account of horror and why it matters for understanding social otherness. He argues that horror films reveal how the category of the other is not fixed. Instead, the genre captures ongoing metamorphoses across "normal" self and "monstrous" other. This "transformative otherness" confronts viewers with the other's experience-and challenges us to recognize that we are all vulnerable to becoming or being seen as the other. Instead of settling into comforting certainties regarding monstrosity and normality, horror exposes the ongoing struggle to acknowledge self and other as fundamentally intertwined. Horror Film and Otherness features new interpretations of landmark films by directors including Tobe Hooper, George A. Romero, John Carpenter, David Cronenberg, Stephanie Rothman, Jennifer Kent, Marina de Van, and Jordan Peele. Through close analysis of their engagement with different forms of otherness, this book provides new perspectives on horror's significance for culture, politics, and art. (shrink)

Within cinematic horror, trauma as a concept has often been used as an allegorical strategy to work through collective anxieties. This article on It Follows (David Robert Mitchell, 2014) and Get Out (Jordan Peele, 2017) strikes another note. It argues that, by their aesthetic qualities, both films are rendered traumatic in their affective orientation, both toward the cinematic world and toward the spectator. It analyses the two films through trauma as an affective-aesthetic strategy that puts emphasis on the edge (...) of the frame as well as on the offscreen space. This strategy evokes a sinister mood that exists independently of the protagonists, allowing us to meaningfully feel the effects of their trauma as we engage with the film. Especially the use of the offscreen space in both films contributes to the “traumatic mood” of the films, but it also functions to immerse the spectator in the invisible filmic world. In this way, It Follows and Get Out embody trauma as a denial of relief from dread, which we both recognize in the characters' experience, and feel in our own bodies through the effective creation of ever-present threat. (shrink)

Emmanuel Levinas is often thought of as a philosopher of ethics, above all else. Indeed, his notions of the face, the Other, and alterity have all earned him a distinguished place in the history of phenomenology as a fundamental thinker of ethics as a first philosophy. But what has been overlooked in this attention on ethics is the early work of Levinas, which reveals him less a philosopher of the Other and more as a philosopher of elemental and anonymous being, (...) a speculative metaphysician whose ethical voice was still in the process of forming. In this paper, I explore the early Levinas, specifically with an aim of assessing what he can tell us about phenomenology in its relation to the non-human world. I make two claims. One, Levinas’s idea of the “il y a” (the there is) offers us a novel way of rethinking the relation between the body and the world. This idea can be approached by phrasing Levinas as a materialist. Two, the experience of horror, which Levinas will place great onus on, provides us with a phenomenology at the threshold of experience. As I argue, it is precisely through what Levinas terms “the horror of the night,” that phenomenology begins to exceed its methodological constraints in accounting for a plane of elemental existence beyond experience. (shrink)

J.L. Schellenberg argues that since God, if God exists, possesses both full knowledge by acquaintance of horrific suffering and also infinite compassion, the occurrence of horrific suffering is metaphysically incompatible with the existence of God. In this paper I begin by raising doubts about Schellenberg’s assumptions about divine knowledge by acquaintance and infinite compassion. I then focus on Schellenberg’s claim that necessarily, if God exists and the deepest good of finite persons is unsurpassably great and can be achieved without horrific (...) suffering, then no instances of horrific suffering bring about an improvement great enough to outweigh their great disvalue. I argue that there is no good reason, all things considered, to believe this claim. Thus Schellenberg’s argument from horrors fails. (shrink)

Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on para-philosophical modes of discourse.".

Este trabalho empreende uma discussão a respeito do corpo como materialidade visível no dizível em duas produções cinematográficas de horror (Frontières e À l’interieur), cuja ordem fílmica de horror lança mão das imagens referentes ao acontecimento do Outubro de 2005, o qual foi marcado pelas manifestações e confrontos violentos entre a polícia e os manifestantes nas principais cidades francesas. Esta forma de usar imagens referentes a acontecimentos políticos ou sociais é uma característica das produções cinematográficas americanas de (...) class='Hi'>horror dos anos de 1960 a 1970, da qual O massacre da Serra elétrica reconstrói seu roteiro sob a memória do caso de Ed Gein que aconteceu no Estado americano de Wisconsin nos anos de 1950. Nesta discussão, apresentamos uma análise, laçando mão da noção de intericonicidade para tratar das imagens que remetem a outras imagens e, ao mesmo tempo, retomamos a reflexão barthesiana “Como pode um acontecimento ser escrito?”, enunciada, em 1968, para refletir acerca do acontecimento do Maio daquele ano. Quanto ao corpo, tratamos deste objeto pelo prisma da ordem dos empreendimentos foucaultianos em que o corpo aparece como “um protagonista incontornável e multiforme”. (shrink)

Lucrèce débute son livre III du poème De rerum natura par l’éloge des enseignements d’Épicure - qui effacent la peur de la mort, des fantômes et des dieux - et la description des sentiments suscités par les principes épicuriens. Il écrit, dans les vers 28-30, qu’il ressent à la fois une volupté divine (divina voluptas), allusion probable au plaisir catastématique qui permet d’approcher la quiétude de la divinité, et l’horreur (horror). La formule est énigmatique, voire même contradictoire. En effet (...) les occurrences d’horror dans le De rerum natura démontrent que le terme est lié surtout à la crainte de la mort, des fantômes et des dieux, autrement dit la même peur que les épicuriens veulent éliminer pour donner accès à la volupté divine. Dans cet article, nous étudions cette formule de DRN III, 28-30 et nous proposons une nouvelle solution à sa contradiction interne, qui n’est qu’apparente. Cette solution est fondée sur l’hypothèse d’un emploi thérapeutique de la poétique du sublime. (shrink)

ABSTRACTWhere do a child’s morals come from? Interactions with other human beings provide arguably the primary contexts for moral development: family, friends, teachers and other people. It is the artistic products of human activity that this essay considers: literature, film, art, music. Specifically, I will consider some philosophical issues concerning the influence of folk and fairy tales on moral development. I will discuss issues of representation and reduction: in particular, how far should stories for children elide the complexities inherent to (...) many folk and fairy tales? Drawing on a distinction between a problematic reductionism and an appropriate pedagogical reduction, I suggest that pedagogical issues of representation require us to think about how to represent complexity in ways that are reductive without being reductionist, that can delight and engage without being horrifying or tedious. While there is a place for horror and for boredom, it is primarily a matter of timing... (shrink)

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can (...) find pleasure in having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Horror is not the same as fear, and while fear contains an essential action tendency horror does not. And while we can enjoy fear there is no enjoying of horror.

Who would the Saviour have to be, what would the Saviour have to do to rescue human beings from the meaning-destroying experiences of their lives? This book offers a systematic Christology that is at once biblical and philosophical. Starting with human radical vulnerability to horrors such as permanent pain, sadistic abuse or genocide, it develops what must be true about Christ if He is the horror-defeater who ultimately resolves all the problems affecting the human condition and Divine-human relations. Distinctive (...) elements of Marilyn McCord Adams' study are her defence of the two-natures theory, of Christ as Inner Teacher and a functional partner in human flourishing, and her arguments in favour of literal bodily resurrection and of a strong doctrine of corporeal Eucharistic presence. The book concludes that Christ is the One in Whom, not only Christian doctrine, but cosmos, church, and the human psyche hold together. (shrink)

Der Beitrag untersucht die Langeweile auf klinischem Terrain und als literarisches/philosophisches Sujet in Abgrenzung zu benachbarten Phänomenen wie Muße, Müßiggang und Faulheit. Da sich das Phänomen Langeweile im Bedeutungsspektrum zwischen »horror vacui« (Kant) und »Windstille der Seele« (Nietzsche) einer definitorischen Klarheit entzieht, schlägt die Autorin anhand klinischer Vignetten vor, drei Qualitäten und regulierende Funktionen der Langweile zu differenzieren: eine vernichtende, mit »Desobjektalisierung« (Green) einhergehende Langeweile, eine als Abwehr eines traumabedingten Ich-Verlusts fungierende Langeweile sowie eine Langeweile als kreativer Übergangsraum. Freuds (...) Gedanken über die Existenz von »lustvolle(n) Spannungen und unlustige(n) Entspannungen« enthalten eine triebökonomische Perspektive, die einen Blick auf sehr unterschiedliche Lust- und Unlustqualitäten der Langeweile erlaubt. (shrink)

In all the Alien films, the environments are gloomy settings originally inspired by Gothic architecture, but it's the creature design, which leaves the most profound mark on us. The interaction between these art‐horror monsters and the sterileturned‐ grotesque environments of the Alien films can produce disgust or revulsion in the viewer. In Alien a fair amount of time is spent on the relationships between the crew members. One of the most horrific moments of the series is the cry of (...) “kill me” that emerges from the half‐conscious hosts as the space Marines explore the former colony of Hadley's Hope. Central to Carroll's theory on art‐horror is revulsion at the suggestion of physical contact with the fusion‐figures. At the end of Alien: Resurrection, Ripley lies in the middle of the Queen's huge mass. It is the most striking image in an otherwise cartoonish film. (shrink)

To be publishing this journal as the brutality of war is on display every night on our television screens may seem simultaneously futile and deeply meaningful. With the horrors of Gaza, Israel, and...

Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can (...) find pleasure in having their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

Can horror films be tragic? From an Aristotelian point of view, the answer would seem to be no. For it is hard to see how a film that places a monster at the center of the plot could evoke pity and fear in the audience. This paper argues that some films belong to both horror and tragedy, and so can be accommodated as tragedies according to Aristotle's framework in the Poetics.

Este artigo visa investigar, através do modelo entropológico de inspiração lévi-straussiana elaborado pelo filósofo Marco Antonio Valentim na obra Extramundanidade e Sobrenatureza (filosofia quente-sociedade fria e filosofia fria-sociedade quente), os desafios lançados ao pensamento pela mitologia lovecraftiana. Interpretaremos para isso a obra H.P. Lovecraft: a disjunção no Ser, do filósofo argentino Fabián Ludueña Romandini, buscando posicionar a temporalidade no centro da análise entropológica. Contrastando a mitologia lovecraftiana com o pensamento das sociedades quentes, somos levados a sobrevoar as regiões da loucura, (...) do sonho e do trabalho, para finalmente alcançar um dos nódulos temporais da modernidade, expresso na imagem do tempo como intuição interna do sujeito transcendental da filosofia kantiana. Depois de uma breve comparação entre a filosofia lovecraftiana e a filosofia kantiana, seguimos em direção à filosofia aceleracionista de Nick Land, contrapondo o cosmos lovecraftiano ao cosmos tecnocrático do expoente contemporâneo das sociedades quentes e suas tendências entrópicas. Finalmente, retomamos a interpretação entropológica da mitologia lovecraftiana analisando as preocupações referentes ao horror vacui destacadas por Valentim na sua obra, apoiando-nos para isso no lugar outorgado às escolas filosóficas pelo filósofo argentino na sua obra sobre Lovecraft. (shrink)

This book examines spectral haunting through the philosophies of Levinas and Derrida. Arguing that moral obligation can appear terrifying to the complacent self, the text interrogates ethical responsibility in contemporary horror genres.

Three questions have occupied much of the philosophical literature on cinematic horror: What is horror? How is it able to frighten and disgust? Why do we seek out horror if it horrifies? Although there are numerous other important topics, this entry will focus on these three general questions, since they motivate the overwhelming majority of the philosophical writing on cinematic horror.

In “The Immorality of Horror Films,” philosopher and film scholar Gianluca Di Muzio proposes an analytic argument that aims to prove horror narratives, particularly slashers, unethical. His Argument from Reactive Attitudes contests slashers encourage pleasurable responses towards depictions of torture and death, which is possible only by suspending compassionate reactions. Doing so degrades sympathy and empathy, causing desensitization. This article will argue Di Muzio’s ARA, while valuable to discussion of art horror and morbidity, fails to meet its (...) intended aim. The ARA contains structural flaws in its logic, compounded by reliance on insufficient evidence. Additionally, Di Muzio does not adequately consider or rebut prominent aesthetic concerns, including ontological and moral distance of representations. Lastly, the argument utilizes a flawed classificatory schema that undermines its primary goal. Even narrowly confined to slashers, the ARA cannot explain alternative reasons for engaging with horror, nor does it account for those nuanced slasher works designed to foster compassion. The project concludes by offering a modified ARA with greater potential to accurately analyze the interrelation between art horror and morality. (shrink)

Horror – that is the invasion of something unbearable. In many films its starting point is a common, even idyllic every-day-scene: in David Lynch’s Blue Velvet, we see an ear lying on a freshly mowed lawn which is surrounded by an immaculate white fence. In the following I raise the question if the common place could be seen as the breeding ground for the unbearable rather than serving as a contrast to the invasion of it. What if the endless (...) repetition of every- day-life itself quietly generates the monsters and their excesses as a kind of antidote and wake- up-call for the lethargy and lifelessness which creeps upon ordinary people in their ordinary lives? Should this motif work, then one finds rather surprising structural common features across the genre boundaries such as from a horror film to its apparent antipode, the romantic comedy (Pretty Woman meets Norman Bates). (shrink)