Psychoanalysing Horror Cinema

Mary Wild is a writer, lecturer, and podcaster based in London, England. She is the creator of the Projections lecture series at Freud Museum, where she applies psychoanalytic theory to film interpretation.

• Acknowledgements Foreword Introduction 1. Mind 2. Body 3. Nature 4. Aliens 5. Vampires 6. Home Invasion Bibliography

‘Even though an intrinsic connection exists between psychoanalysis and the horror film, the number of books addressing this intersection has been scant, and none has gotten to the foundation of the connection. This all changes with the publication of Mary Wild’s Psychoanalysing Horror Cinema. Wild has long engaged with both psychoanalytic thinking and the horror film. Psychoanalysing Horror Cinema is the result of this lengthy study, and it promises to influence how we look at the horror film both as a genre and as a cultural phenomenon. It’s a groundbreaking work not to be missed.’Todd McGowan, philosopher‘Mary Wild makes a unique and timely contribution with her book Psychoanalysing Horror Cinema. Using both psychoanalysis and related critical paradigms to explore a series of classic and new examples of the horror genre, Wild offers concise and insightful explorations of each film in a welcoming tone. The reader senses the genuine pleasure Wild takes in the interpretive act that each film elicits her to undertake. Readers ranging from the casual fan to the dedicated viewer of horror cinema–whether their bookshelf exists in physical or digital space–will find Wild’s book merits a place.’Richard C. Ledes, filmmaker'The theoretical scaffolding of the book is clear and consistent. Freud provides the grounding (repression, the return of the repressed, the uncanny, the death drive), while Lacan offers the language of lack, the Real, and jouissance. But Wild also draws on Julia Kristeva’s theory of abjection, post-Freudian and feminist thought, and the psychological archetypes of Carl Jung (side note from me: is it even possible to understand much modern horror without reference to Jung’s concept of the shadow?). What’s remarkable is how fluidly these frameworks are integrated: they do not dominate the text but support it, illuminating rather than obscuring. Wild has no interest in dry, schematic application of academic concepts – in her hands, the interrogation of horror films comes alive.'Andrew Pope, screenwriter