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<p>Notes on Contributors viii</p> <p>Preface xiii</p> <p><b>Part I Approaches and Contexts 1</b></p> <p>1 Cognitive and Philosophical Approaches to Horror 3<br /> <i>Aaron Smuts</i></p> <p>2 Horror and Psychoanalysis: An Introductory Primer 21<br /> <i>Chris Dumas</i></p> <p>3 Gender and Sexuality Haunts the Horror Film 38<br /> <i>Daniel Humphrey</i></p> <p>4 The Horror Film as Social Allegory (And How it Comes Undone) 56<br /> <i>Christopher Sharrett</i></p> <p>5 Avenging the Body: Disability in the Horror Film 73<br /> <i>Travis Sutton</i></p> <p>6 Horror Reception/Audiences 90<br /> <i>Matt Hills</i></p> <p>7 A’s, B’s, Quickies, Orphans, and Nasties: Horror Films in the Context of Distribution and Exhibition 109<br /> <i>Kevin Heffernan</i></p> <p>8 Horror and the Censors 130<br /> <i>Julian Petley</i></p> <p><b>Part II The Form of Horror 149</b></p> <p>9 Carl Dreyer’s Corpse: Horror Film Atmosphere and Narrative 151<br /> <i>Robert Spadoni</i></p> <p>10 Horror Sound Design 168<br /> <i>William Whittington</i></p> <p>11 Mellifluous Terror:The Discourse of Music and Horror Films 186<br /> <i>Joe Tompkins</i></p> <p><b>Part III A History of the (Western) Horror Film 205</b></p> <p>12 Horror Before “The Horror Film” 207<br /> <i>Harry M. Benshoff</i></p> <p>13 Classical Hollywood Horror 225<br /> <i>John Edgar Browning</i></p> <p>14 Horror in the 1940s 237<br /> <i>Mark Jancovich</i></p> <p>15 Science Fiction and Horror in the 1950s 255<br /> <i>Steffen Hantke</i></p> <p>16 The Gothic Revival (1957–1974) 273<br /> <i>RickWorland</i></p> <p>17 International Horror in the 1970s 292<br /> <i>Peter Hutchings</i></p> <p>18 Slasher Films and Gore in the 1980s 310<br /> <i>James Kendrick</i></p> <p>19 Millennial Fears: Abject Horror in a Transnational Context 329<br /> <i>Adam Charles Hart</i></p> <p>20 Torture Porn: 21st Century Horror 345<br /> <i>Isabel C. Pinedo</i></p> <p><b>Part IV Selected International Horror Cinemas 363</b></p> <p>21 Spanish Horror Cinema 365<br /> <i>Ian Olney</i></p> <p>22 The Return of the Rural Repressed: Italian Horror and the <i>Mezzogiorno Giallo </i>390<br /> <i>Xavier Mendik</i></p> <p>23 Recent Trends in Japanese Horror Cinema 406<br /> <i>Jay McRoy</i></p> <p>24 South Korean Horror Cinema 423<br /> <i>Daniel Martin</i></p> <p>25 Sisterhood of Terror:The Monstrous Feminine of Southeast Asian Horror Cinema 442<br /> <i>Andrew Hock Soon Ng</i></p> <p><b>Part V Selected Archetypes, Hybrids, and Crossovers 461</b></p> <p>26 Vampires and Transnational Horror 463<br /> <i>Dale Hudson</i></p> <p>27 Trash Horror and the Cult of the Bad Film 483<br /> <i>I. Q. Hunter</i></p> <p>28 “MoodyThree”: Revisiting Ken Russell’s <i>The Devils </i>501<br /> <i>Joan Hawkins</i></p> <p>29 Horror’s Otherness and Ethnographic Surrealism: The Case of <i>The Shout </i>519<br /> <i>Adam Lowenstein</i></p> <p>30 The Documentary Impulse and Reel/Real Horror 536<br /> <i>Caroline Joan S. Picart</i></p> <p>Index 554</p>

<b>Harry M. Benshoff</b> is Professor of Radio, TV, and Film at the University of North Texas, USA. His research interests include topics in film genre, film history, film theory, and multiculturalism. The author of several books on cinema, he is best known for work that explores sexuality in relation to the horror film, including <i>Monsters in the Closet: Homosexuality and the Horror Film</i> (1997).  He is also co-author of <i>Queer Images: A History of Gay and Lesbian Film in America</i> (2006), and <i>America on Film: Representing Race, Class, Gender, and Sexuality at the Movies, Second edition</i> (Wiley Blackwell, 2009).

<p>This cutting-edge collection contains 30 original essays on one of cinema’s most dynamic and enduringly popular genres. With contributions by many of the best-known scholars of film horror, <i>A Companion to the Horror Film</i> offers a critical survey of the art and practice of horror movies covering everything from craft and technique, historical developments, and modern-day trends, to broader topics opening onto the socio-political dimensions of the genre. The volume begins with essays devoted to the theoretical methodologies used to study the genre, from cognitive and philosophical approaches, through audience reception and psychoanalysis, to those approaches that examine gender, sexuality, race, class, and (dis)ability in relation to the horror film. Subsequent sections cover horror film aesthetics, the history of the genre, and specific subjects including distribution and the relationship between horror, art house movies, and the documentary impulse.</p> <p>Combining wide-ranging analysis with nuanced commentary, <i>A Companion to the Horror Film</i> synthesizes key concepts related to the genre and presents original research reflecting the latest trends in horror film scholarship.  It speaks to fan and scholar alike and will deepen the appreciation of those well-versed in horror film as well as newcomers to the subject.</p>

<p>"Historically comprehensive while refreshingly up-to-date, Harry M. Benshoff's <i>A Companion to the Horror Film</i> provides a much-needed, state-of-the-art overview of an endlessly mutating genre and its ever-evolving criticism. A must-have volume for any popular culture studies bookshelf."<br /> <br /> <i>David J. Skal, author of</i> The Monster Show: A Cultural History of Horror</p> <p>“Benshoff’s <i>Companion</i>, like his previous work, is an all encompassing look at the changing definition of horror and inclusive of cult and camp’s greatest hits. A new must-have for theory-goers!”<br /> <br /> <i>Jeffrey Schwarz, Director of</i> I Am Divine<i>,</i> Vito <i>and</i> Spine Tingler! The William Castle Story</p>

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