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“Glasby anatomizes horror’s scare tactics with keen, lucid clarity across 34 carefully selected main films—classic and pleasingly obscure. 4 Stars.” —Total Film? Horror movies have never been more critically or commercially successful, but there’s only one metric that matters: are they scary? The Book of Horror focuses on the most frightening films of the post-war era—from Psycho (1960) to It Chapter Two (2019)—examining exactly how they scare us across a series of key categories. Each chapter explores a seminal horror film in depth, charting its scariest moments with infographics and identifying the related works you need to see. Including references to more than one hundred classic and contemporary horror films from around the globe, and striking illustrations from Barney Bodoano, this is a rich and compelling guide to the scariest films ever made. “This is the definitive guide to what properly messes us up.” —SFX Magazine The films: Psycho (1960), The Innocents (1961), The Haunting (1963), Don’t Look Now (1973), The Exorcist (1973), The Texas Chain Saw Massacre (1974), Who Can Kill a Child? (1976), Suspiria (1977), Halloween (1978), The Shining (1980), The Entity (1982), Angst (1983), Henry: Portrait of a Serial Killer (1990), Ring (1998), The Blair Witch Project (1999), The Others (2001), The Eye (2002), Ju-On: The Grudge (2002), Shutter (2004), The Descent (2005), Wolf Creek (2005), The Orphanage (2007), [Rec] (2007), The Strangers (2008), Lake Mungo (2008), Martyrs (2008), The Innkeepers (2011), Banshee Chapter (2013), Oculus (2013), The Babadook (2014), It Follows (2015), Terrified (2017), Hereditary (2018), It Chapter Two (2019)
The 1932 horror film White Zombie starring Bela Lugosi has received controversial attention from film reviewers and scholars--but it is unarguably a cult classic worthy of study. This book analyzes the film text from nearly every possible viewpoint, using both academic and popular film theories. Also supplied is an extensive intellectual history of the predecessor works to White Zombie, as well as information on the significance it carried for subsequent books and films, its theatrical release around the country, its modern cultural influence, and the attempts to restore the film to its original state. Other noteworthy features of this work include an in-depth biography of White Zombie director Victor Halperin, the first complete study of his life and career, and 244 images and photographs.
In a compact, readable, and accessible book, Roger B. Salomon explores the nature of horror in literature and in life. Rather than minimizing horror by narrowly associating it with psychological drives, persecution, or extremism, he approaches horror through the medium of narrative as a significant and enduring physical and metaphysical reality. Salomon focuses on fictions of horror, including eighteenth-century Gothic and nineteenth-century ghost stories. He does not, however, isolate literary examples from more general human issues, including religious belief. Mazes of the Serpent takes up examples of horror from historical and personal narratives--including battle memoirs and Holocaust testimonies--as Salomon identifies certain common themes and qualities that cross the boundary between fiction and actual human experience.
The term "slasher film" was common parlance by the mid-1980s but the horror subgenre it describes was at least a decade old by then--formerly referred to as "stalker," "psycho" or "slice-'em-up." Examining 74 movies--from The Texas Chainsaw Massacre (1974) to Texas Chainsaw 3D (2013)--the author identifies the characteristic elements of the subgenre while tracing changes in narrative patterns over the decades. The slasher canon is divided into three eras: the classical (1974-1993), the self-referential (1994-2000) and the neoslasher cycle (2000-2013).
Dreadful Pleasures offers a lively look at those stories that make our hair stand on end--their persistence in our culture, their manifestations in art, and our need for the frissons they provide. James Twitchell traces our fascination with horror from the cave paintings at Lascaux to the "slasher" movies today. Twitchell finds that three particular stories have had a special resonance in our culture: the bloodsucker (Dracula), the deformed creature (Frankenstein), and the transformation monster (The Wolfman, Dr. Jekyll and Mr. Hyde). Why have these stories persisted to the point of becoming mythic and to the exclusion of others? Whatever happened to the Phantom of the Opera or the Hunchback of Notre Dame or the Creature from the Black Lagoon? Using a psychoanalytic approach, Twitchell argues that the stories we seek out and preserve are th ones that carry certain information as well as horror. These myths, he contends, warn their adolescent audiences of the dangers of careless sexual behavior: they seem to say--subliminally--that sex itself is not horrible, but sex with certain people is. Whether discussing the engravings of William Hogarth or The Texas Chainsaw Massacre, Twitchell is consistently insightful, provocative, and entertaining. Film buffs and scholars literary critics and devotees of the Gothic novel will all welcome this study. About the Author: James B. Twitchell is Professor of English at the University of Florida, Gainesville. His previous books include GThe Living Dead: The Vampire in Romantic Literature and Romantic Horizons: Aspects of the Sublime in English Poetry and Painting.
The political use of terror has always been with us, whether in the murderous seizing of power by the ancients, through the outlawed campaigns of guerrillas, or via the state sanctioned terror of war. From Homer to Al Qaeda, terrorism has flourished in one form or another, bloodily shaping our history. Andrew Sinclair's unique book brilliantly explores the methods and thinking behind terrorism and shows how the nature of terror has not changed since the days of the Assassins and the Mongol hordes. Meticulously researched and beautifully written, An Anatomy of Terror dissects the uses of atrocity from the Roman destruction of Carthage to the suicide attacks on the World Trade Center. Bold, incisive and compelling, An Anatomy Of Terror is an essential history for our times.
Love twisted into horrific shapes, nightmares driven by cruel music, and a world where what little light remains fractures the sky into midnight rainbows in eighteen stories tracing the dark veins of queer horror, isolation, and the monstrous feminine. The universe unwinds to the tune of a malicious ice cream truck jingle in "We All Scream". "The Law of Conservation of Death" dictates that a ghost pursue his prey across her every reincarnation. Superstitions thrive even in the distant future and across the stars when a colony shuttle mounts a witch trial in "Hairy Jack". And try to "Forgive the Adoring Beast" as it scavenges a world of dead gods for tokens of bloody affection. Including two new short stories and a never-before-published novelette, Unfortunate Elements of My Anatomy digs deep inside us and clings to the beating nightmare heart you always knew was there.
"Special Agents Shaw and McGregor handle the routine cases nowadays, which is just the way Shaw likes it. She's pushing 40, a borderline burnout, the ghastly memories of her last investigation still clinging like shadows. McGregor is younger, more dedicated, hanging onto some measure of idealism whatever the world might throw at him. Shaw and McGregor conduct the most crucial interrogation of their FBI careers amongst a tale of unimaginable, unequaled depravity that may provide the clues the two agents need to make sense of their grim surroundings" --