Dr. Cynthia
Freeland, University of
Houston
Seminar in Philosophy of Art, Spring 2003
Selected
Bibliography on Horror
I. Philosophical Readings
Noël Carroll
Noël Carroll, The Philosophy of Horror, or Paradoxes
of the Heart (New York and London: Routledge, 1990).
The Naked and the
Undead: Evil and the Appeal of Horror (Westview Press, October 1999).
“Horror and Art Dread,” forthcoming in The Horror Film,
Stephen Prince, ed. (Rutgers, 2003).
“The Slasher’s Blood Lust,” forthcoming in Dark
Thoughts: Philosophic Reflections on Cinematic Horror, Steven Jay Schneider
and Dan Shaw, Eds. (Lanham, MD: Scarecrow Press, 2003). Reprinted from The
Naked and the Undead, Chapter Five.
“Ordinary Horror on Reality TV,” forthcoming in Narration
across Media, Marie-Laure Ryan, ed. (Nebraska, 2003).
"The Uncanny in The Double Life of Véronique,"
Film and Philosophy (Special Edition on Horror, Summer 2001): 34-50.
Also reprinted (revised) in Psychoanalysis and the Horror Film: Freud’s
Worst Nightmares, Steven Jay Schneider, ed. (Cambridge: Cambridge
University Press, forthcoming 2003).
"Feminist Frameworks for Horror Films," Post-Theory: Reconstructing Film Studies, Noël
Carroll and David Bordwell, eds. (University of Wisconsin Press, 1996), pp.
195-218.
"Realist Horror," Philosophy and Film
(see above), pp. 126-142. Reprinted (abridged) in Aesthetics: The Big Questions, Carolyn Korsmeyer,
ed. (Blackwell, 1998), pp. 283-93.
Steven Jay Schneider
As author:
“Monsters as (Uncanny) Metaphors: Freud, Lakoff, and the
Representation of Monstrosity in Cinematic Horror,” in Horror Film Reader,
167-91.
“Towards an Aesthetics of Cinematic Horror”, draft, 2003.
“Horror” (Genre Overview), in Understanding Film Genres.
Steven Schneider, “Uncanny Realism and the Decline of the Modern
Horror Film,” Paradoxa: Studies in World Literary Genres 3.34 (1997):
417-28.
As editor:
Sara Pendergast, Tom Pendergast, and Steven Jay Schneider
(eds.), Understanding Film Genres: Film through Genres, Genre through Films
(New York: McGraw-Hill, forthcoming 2003).
Steven Jay Schneider and Tony Williams, eds., Horror
International (Detroit: Wayne State University Press, forthcoming 2003).
Steven Jay Schneider, ed., Post Script: Essays in Film and
the Humanities, Special Issue: Realist Horror Cinema 21.3 (Summer 2002).
Steven Jay Schneider (ed.), Freud’s Worst Nightmares:
Psychoanalysis and the Horror Film (Cambridge: Cambridge University Press,
forthcoming 2003).
Berys Gaut, “The Paradox of Horror,” British Journal
of Aesthetics 33.4 (1993): 333-45.
Robert C. Solomon, “Real Horror,” in Steven Jay Schneider
and Dan Shaw, eds, Dark Thoughts: Philosophic Reflections on
Cinematic Horror (Lanham, MD: Scarecrow Press, 2003).
Kendall Walton,
“Fearing Fictions”, Journal of Philosophy, vol. 75, no.1 (January
1978.
Thomas Austin, “Gone With the Wind Plus
Fangs: The Assembly, Marketing and
Reception of Bram Stoker’s Dracula,” Framework: The
Journal of Cinema and Media 41 (Autumn 1999).
Brigid Cherry, “Refusing to Refuse to Look: Female
viewers of the horror film,” in Richard Maltby and and Melvyn Stokes (eds.), Identifying
Hollywood’s Audiences: Cultural Identity and the Movies (London: BFI
Publishing, 1999.
Carol J. Clover, Men, Women, and Chainsaws: Gender in
the Modern Horror Film (Princeton: Princeton University Press, 1992).
Jonathan Lake Crane, Terror and Everyday Life:
Singular Moments in the History of the Horror Film (Thousand Oaks, CA: Sage
Publications, 1994).
Barbara Creed, The Monstrous-Feminine: Film, Feminism,
and Psychoanalysis (London: Routledge, 1993).
Barry Keith Grant (ed.), The Dread of Difference:
Gender and the Horror Film (Austin: University of Texas, 1996.
Torben Grodal, Moving Pictures: A New Theory of Film
Genres, Feelings, and Cognition (Oxford: Clarendon Press, 1997)
Joan Hawkins, Cutting Edge: Art-Horror and the
Horrific Avant-Garde (Minneapolis:
University of
Minnesota Press, 2000).
Matt Hills, “An Event-Based Definition of Art-Horror,”
forthcoming in Dark Thoughts.
Stephen King, Danse Macabre (New York: Berkley
Books, 1981.
John McCarty, Splatter
Movies: Breaking the Last Taboo of the Screen (New York: St. Martin’s
Press, 1984.
Isabel Cristina Pinedo, Recreational Terror: Women and
the Pleasures of Horror Film Viewing (Albany: State University of New York
Press, 1997).
Stephen Prince, “Violence and Psychophysiology in Horror
Cinema,” forthcoming in Freud’s Worst Nightmares.
David J. Skal, The Monster Show: A Cultural History of
Horror (New York: W.W. Norton & Co., 1993); Mark Jancovich, Horror
(London: B.T. Batsford, 1992).
Ed S. Tan, Emotion and the Structure of Narrative
Film: Film as an Emotion Machine, trans. Barbara Fasting (Mahwah, New
Jersey: Lawrence Erlbaum Associates, 1996).
Andrew Tudor, Monsters and Mad Scientists: A Cultural
History of the Horror Movie (Oxford: Basil Blackwell, 1989).
James B. Weaver, III and Ron Tamborini, eds., Horror
Films: Current Research on Audience Preferences and Reactions (Mahwah, New
Jersey: Lawrence Erlbaum Associates, 1996.
Tony Williams, Hearths of Darkness: The Family in the
American Horror Film (Madison: Fairleigh Dickinson University Press, 1996).