It makes us jump. It makes us scream. It haunts our nightmares. So why do we watch horror? Why do we play it? What could possibly appealing about a genre that tries to terrify us? Why would we subject ourselves to shriek-inducing shocks, or spend dozens of hours watching a television show about grotesque flesh-eating monsters? Monstrous Forms offers a theory of horror that works through the genre across a broad range of contemporary moving-image media: film,television, videogames, YouTube, gifs, streaming, virtual reality.
It makes us jump. It makes us scream. It haunts our nightmares. So why do we watch horror? Why do we play it? What could possibly appealing about a genre that tries to terrify us? Why would we subject ourselves to shriek-inducing shocks, or spend dozens of hours watching a television show about grotesque flesh-eating monsters? Monstrous Forms offers a theory of horror that works through the genre across a broad range of contemporary moving-image media: film,television, videogames, YouTube, gifs, streaming, virtual reality.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Adam Charles Hart grew up in Washington State and worked as a film programmer and arts administrator in Seattle before entering academia. His recent research encompasses the horror genre, the American avant-garde, documentary media, and global new waves. His writings have appeared or are forthcoming in The Journal of Cinema and Media Studies, Imaginations, Studies in the Fantastic, and Discourse, as well as the book collections A Companion to the Horror Film and Gothic Cinema. He currently lives in Pittsburgh, where he teaches at the University of Pittsburgh.
Inhaltsangabe
* Acknowledgments * Introduction: Haunted Screens * Part 1: The Sensational Address * Chapter 1: Shocks to the System: How We Watch/Play/Browse Horror * Chapter 2: I'M SCREEEEEEEEAMING!!!!:: The Lowly Art of the Jump Scare * Chapter 3: The Blackest Eyes... The Devil's Eyes: Horror's First-Person Camerawork Part 1: Killer POV... * Chapter 4: The Blackest Eyes... The Devil's Eyes: Horror's First-Person Camerawork Part 2: The Searching Camera... * Part 2: Scary Monsters (And Super Creeps) * Chapter 5: The Monster Function * Chapter 6: Monsters, and the Viewers Who Love Them * Chapter 7: Monster Stories/Storied Monsters * Epilogue: Three Ways of Looking at Horror * Selected Bibliography * Index
* Acknowledgments * Introduction: Haunted Screens * Part 1: The Sensational Address * Chapter 1: Shocks to the System: How We Watch/Play/Browse Horror * Chapter 2: I'M SCREEEEEEEEAMING!!!!:: The Lowly Art of the Jump Scare * Chapter 3: The Blackest Eyes... The Devil's Eyes: Horror's First-Person Camerawork Part 1: Killer POV... * Chapter 4: The Blackest Eyes... The Devil's Eyes: Horror's First-Person Camerawork Part 2: The Searching Camera... * Part 2: Scary Monsters (And Super Creeps) * Chapter 5: The Monster Function * Chapter 6: Monsters, and the Viewers Who Love Them * Chapter 7: Monster Stories/Storied Monsters * Epilogue: Three Ways of Looking at Horror * Selected Bibliography * Index
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