Grief in Contemporary Horror Cinema

Screening Loss

Häftad, Engelska, 2025

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Over the course of the past two decades, horror cinema around the globe has become increasingly preoccupied with the concept of loss. Grief in Contemporary Horror Cinema: Screening Loss examines the theme of grief as it is represented in both indie and mainstream films, including works such as Jennifer Kent's watershed film The Babadook, Juan Antonio Bayona's award-sweeping El orfanato, Ari Aster's genre-straddling Midsommar, and Lars von Trier's visually stunning Melancholia. Analyzing depictions of grief ranging from the intimate grief of a small family to the collective grief of an entire nation, the essays illustrate how these works serve to provide unity, catharsis, and—sometimes—healing.

Produktinformation

Utgivningsdatum2025-01-29
Mått159 x 239 x 13 mm
Vikt313 g
FormatHäftad
SpråkEngelska
SerieResearch in Horror Studies
Antal sidor224
FörlagBloomsbury Publishing Plc
ISBN9781793633958

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Film inom Kultur
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Part I: Loss and the Child: Grief and Endangered YouthChapter 1. Horror at the Crossroads: Mapping the Child’s Grief in Pan’s Labyrinth (2006)Lindsey ScottChapter 2. “We Can Survive This”: An Examination of Loss and Grief in Juan Antonio Bayona’s El orfanato (The Orphanage) (2007)Erica Joan Dymond Chapter 3. Elevating Grief: Ari Aster’s Hereditary (2018) and the A24 Horror FilmAndrew Grossman and Todd K. PlattsPart II: Loss and Gender: Grief and Motherhood/WomanhoodChapter 4. To Make You Feel My Love: Jennifer Kent’s The Babadook (2014), Motherhood, and Loss Rebecca L. WilloughbyChapter 5. The Myth of the Natural Woman: Horror and Grief in Ari Aster’s Midsommar (2019)Aspen Taylor BallasPart III: Loss and National Identity: Grief and HistoryChapter 6. O Father, Where Art Thou?: Grief and Cannibal Culture in Jorge Michel Grau’s Somos lo que hay (We Are What We Are) (2010)Megan DeVirgilisChapter 7. Sadness is Rebellion: The Ontopolitics of Queer Loss in Mladen Ðordevic’s Ž

Grief in Contemporary Horror Cinema: Screening Loss is an accessible and wide-ranging exploration of grief as represented in many of the most interesting recent horror films on the topic. Of particular interest is the collection's inclusion of insightful essays addressing the socialization of grief through gender, sexuality, the family, and colonialism and how these complexities manifest in the themes and aesthetics of horror films.