Xavier Aldana Reyes

Horror is unlike any other literary genre. It seeks to provoke uniquely strong reactions, such as fear, shock, dread or disgust, and yet remains very popular. Horror is most readily associated with the film industry, but horrific short stories and novels have been wildly loved by readers for well over two centuries. Despite its persistent popularity, until now there has been no up-to-date history of horror fiction for the general reader. This book offers a chronological overview of the genre in fiction and explores its development and mutations over the past 250 years. It also challenges the common misjudgement that horror fiction is necessarily frivolous or dispensable. Leading experts on Gothic and horror literature introduce readers to classics of the genre as well as exciting texts they may not have encountered before. The topics examined include: horror s roots in the Gothic romance and antebellum American fiction; the penny dreadful and sensation novels of Victorian England; fin-de-siecle ghost stories; decadent fiction and the weird; the familial horrors of the Cold War era; the publishing boom of the 1980s; the establishment of contemporary horror auteurs; and the post-millennial zombie trend."

A Literary History

Horror

Explores the long history of Gothic cinema, from its transitional origins in phantasmagoria shows and the first 'trick' films to its postmodern fragmentation in the Gothic pastiches of Tim Burton

Gothic Cinema

Sorcha Ni Fhlainn

The vampire is one of the great enemies of humanity, a nightmarish figure who feeds on the living in order to sustain themselves. Born from ancient folklore, writers in the nineteenth century gave form to the vampire as we know it today. Still haunting our subconscious in the twentieth century, a new wave of writers continued to develop the imagery and traditions of the vampire - and the vampire continued to evolve. From John Polidori's iconic short story 'The Vampyre' and tales of parasitic female companions to experimental and freshly thrilling takes by Robert Bloch, Angela Carter and Anne Rice, this new collection sets out to present the enrapturing range of the vampire story and our undying fascination with the monster at its heart.

Visions of the Vampire

From the imaginations of Gothic short-story writers such as Edgar Allen Poe, Nathaniel Hawthorne, Mary Shelley, and later weirdists such as H.P. Lovecraft came one of the most complex of villains--the mad scientist. Promethean Horrors presents some of the greatest mad scientists ever created, as each cautionary tale explores the consequences of pushing nature too far. These savants take many forms: there are malcontents who strive to create poisonous humans; technologists obsessed with genetic splicing; mesmerists interested in the way consciousness operates after death, and inventors who believe in a hidden reality. United by an unhealthy obsession with wanting to reach beyond their circumstances, these mad scientists are marked by their magical capacity to alter the present, a gift that always comes at a price.

Classic Stories of Mad Science

Promethean Horrors

This book presents the first English introduction to the broad history of the Gothic mode in Spain. It focuses on key literary periods, such as Romanticism, the fin-de-siècle, spiritualist writings of the early-twentieth century, and the cinematic and literary booms of the 1970s and 2000s. With illustrative case studies, Aldana Reyes demonstrates how the Gothic mode has been a permanent yet ever-shifting fixture of the literary and cinematic landscape of Spain since the late-eighteenth century. He proposes that writers and filmmakers alike welcomed the Gothic as a liberating and transgressive artistic language.

National Identity, Collaboration and Cultural Adaptation

Spanish Gothic

Linnie Blake

In recent years, the ways in which digital technologies have come to shape our experience of the world has been an immensely popular subject in the horror film genre. Contemporary horror cinema reflects and exploits the anxieties of our age in its increasing use of hand-held techniques and in its motifs of surveillance, found footage (fictional films that appear 'real': comprising discovered video recordings left behind by victims/protagonists) and 'digital haunting' (when ghosts inhabit digital technologies). This book offers an exploration of the digital horror film phenomenon, across different national cultures and historic periods, examining the sub-genres of CCTV horror, technological haunting, snuff films, found footage and torture porn. Digital horror, it demonstrates, is a product of the post 9/11 neo-liberal world view - characterised by security paranoia, constant surveillance and social alienation. Digital horror screens its subjects via the transnational technologies of our age, such as the camcorder and CCTV, and records them in secret footage that may, one day, be found.

Haunted Technologies, Network Panic and the Found Footage Phenomenon

Digital Horror

This book brings together various theoretical approaches to Horror that have received consistent academic attention since the 1990s – abjection, disgust, cognition, phenomenology, pain studies – to make a significant contribution to the study of fictional moving images of mutilation and the ways in which human bodies are affected by those on the screen on three levels: representationally, emotionally and somatically. Aldana Reyes reads Horror viewership as eminently carnal, and seeks to articulate the need for an alternative model that understands the experience of feeling under corporeal threat as the genre’s main descriptor. Using recent, post-millennial examples throughout, the book also offers case studies of key films such as Hostel, [REC], Martyrs or Ginger Snaps, and considers contemporary Horror strands such as found footage or 3D Horror.

Towards a Corporeal Model of Viewership

Horror Film and Affect

Arguing for the need to understand Gothic cinema as an aesthetic mode, this book explores its long history, from its transitional origins in phantasmagoria shows and the first ‘trick’ films to its postmodern fragmentation in the Gothic pastiches of Tim Burton. But what is Gothic cinema? Is the iconography of the Gothic film equivalent to that of the horror genre? Are the literary origins of the Gothic what solidified its aesthetics? And exactly what cultural roles does the Gothic continue to perform for us today? Gothic Cinema covers topics such as the chiaroscuro experiments of early German cinema, the monster cinema of the 1930s, the explained supernatural of the old dark house mystery films of the 1920s and the Female Gothics of the 1940s, the use of vibrant colours in the period Gothics of the late 1950s, the European exploitation booms of the 1960s and 1970s, and the animated films and Gothic superheroes that dominate present times. Throughout, Aldana Reyes makes a strong case for a medium-specific and more intuitive approach to the Gothic on screen that acknowledges its position within wider film industries with their own sets of financial pressures and priorities. This groundbreaking book is the first thorough chronological, transhistorical and transnational study of Gothic cinema, ideal for both new and seasoned scholars, as well as those with a wider interest in the Gothic.

Since the mainstreaming of horror in the 1970s, journalists have warned against the dangers of increasingly explicit forms of violent entertainment. Xavier Aldana Reyes takes a very different stance in Body Gothic by celebrating the transgressive qualities of visceral texts. He considers relevant popular literary and filmic movements of the past three decades and reads them as updates in a long Gothic tradition that goes back to the eighteenth century. The book contains case studies of key texts in splatterpunk, body horror, the new avant-pulp, the slaughterhouse novel, torture porn and surgical horror.

Corporeal Transgression in Contemporary Literature and Horror Film

Body Gothic

The gothic, particularly in its contemporary incarnations, is often constructed around largely disembodied concepts such as spectrality or the haunted. Body Gothic offers a counter-narrative that reinstates the importance of viscerality to the gothic mode. It argues that contemporary discourses surrounding our bodies are crucial to our understanding of the social messages in fictional mutilation and of the pleasures we may derive from it. This book considers a number of literary and cinematic movements that have, over the past three decades, purposely turned the body into a meaningful gothic topos. Each chapter in Body Gothic is dedicated to a different corporeal subgenre: splatterpunk, body horror, the new avant-pulp, the slaughterhouse novel, torture porn and surgical horror are all covered in its pages. Close readings of key texts by Clive Barker, Richard Laymon, Joseph D'Lacey, Matthew Stokoe, Tony White or Stanley Manly are provided alongside in-depth analyses of landmark films such as Re-Animator (1985), The Fly (1986), Saw (2004), Hostel (2005), The Human Centipede (2011) and American Mary (2012). Contents Introduction: From Gothic Bodies to Body Gothic Chapter 1 – Splatterpunk Chapter 2 – Body Horror Chapter 3 – The New Avant-Pulp Chapter 4 – The Slaughterhouse Novel Chapter 5 – Torture Porn Chapter 6 – Surgical Horror Conclusion: The Gothic and the Body Notes Works Cited Filmography

Xavier Aldana Reyes

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