Global Horror

The horror film is thriving worldwide. Filmmakers in countries as diverse as the USA, Australia, Israel, Spain, France, Great Britain, Iran, and South Korea are using the horror genre to address the emerging fears and anxieties of their cultures. This book investigates horror cinema around the globe with an emphasis on how the genre has developed in the past ten years. It closely examines 28 international films, including It Follows (2014), Grave (Raw, 2016), Busanhaeng (Train to Busan, 2016), and Get Out (2016), with discussions of dozens more. Each chapter focuses on a different country, analyzing what frightens the people of these various nations and the ways in which horror crosses over to international audiences.

What if there were a whole world of great horror fiction out there you didn't know anything about, written by authors in distant lands and in foreign languages, outstanding horror stories you had no access to, written in languages you couldn't read? For an avid horror fan, what could be more horrifying than that? For this groundbreaking volume, the first of its kind, the editors of Valancourt Books have scoured the world, reading horror stories from dozens of countries in nearly twenty languages, to find some of the best contemporary international horror stories. The stories in this volume come from 19 countries on 5 continents and were originally written in 13 different languages. All 20 foreign language stories in this volume are appearing in English for the first time ever. The book includes stories by some of the world's preeminent horror authors, many of them not yet known in the English-speaking world.

In an era fascinated by horror, this book examines some of the most significant global TV horror, from children’s television and classic series to contemporary shows taking advantage of streaming and on-demand to reach audiences around the world.

The horror film is thriving worldwide. Filmmakers in countries as diverse as the USA, Australia, Israel, Spain, France, Great Britain, Iran, and South Korea are using the horror genre to address the emerging fears and anxieties of their cultures. This book investigates horror cinema around the globe with an emphasis on how the genre has developed in the past ten years. It closely examines 28 international films, including It Follows (2014), Grave (Raw, 2016), Busanhaeng (Train to Busan, 2016), and Get Out (2016), with discussions of dozens more. Each chapter focuses on a different country, analyzing what frightens the people of these various nations and the ways in which horror crosses over to international audiences.

As global cinema becomes increasingly difficult to distinguish, characterizations of horror films from various geographical and cultural locations seem more fluid and transitional than ever before. However, this does not mean denying the existence of national features that affect and are reflected in horror films, whether from an artistic or a reception standpoint. Horror is one of the most studied genres in cinema, yet none of the many books on the subject focus on films or traditions outside the United States or the United Kingdom. While Italian, Japanese, Mexican, German, and Hong Kong horror films have received a modicum of critical recognition, the areas of Egyptian, Romanian, Belgian, Dutch, New Zealand, and Thai horror all still need-in fact, demand-some attention. Horror International seeks to rectify this by giving the global perspectives and cross-cultural dynamics of world horror cinema its due. This groundbreaking collection of eighteen original essays examine a myriad of films, showing how each draws from Hollywood horror conventions and also local cinematic traditions, local folklore, and national historical and cultural concerns. The production, marketing, and reception of various national cinemas are also addressed, demonstrating how these films are understood by different audiences worldwide. This in turn sheds new light on the original cultural production of many works and their subsequent "translations" and meanings in different national contexts. The diverse and highly informative essays in Horror International will engross both scholars and fans of horror films and finally illuminate the distinct multicultural factors of this exciting cinematic genre.

Horror films have for decades commanded major global audiences, tapping into deep-rooted fears that cross national and cultural boundaries in their ability to spark terror. This book brings together a group of scholars to explore the ways that this fear is utilized and played upon by a wide range of filmmakers. Contributors take up such major figures as Guillermo del Toro, Lars Von Trier, and David Cronenberg, and they also offer introductions to lesser-known talents such as Richard Franklin, Kiyoshi Kurosawa, Juan López Moctezuma, and Alexandre Aja. Scholars and fans alike dipping into this collection will discover plenty of insight into what chills us.

Global Powers of Horror examines contemporary regimes of horror, into horror’s intricacies, and into their deployment on and through human bodies and body parts. To track horror’s work, what horror decomposes and, perhaps, recomposes, Debrix goes beyond the idea of the integrality and integrity of the human body and it brings the focus on parts, pieces, or fragments of bodies and lives. Looking at horror’s production of bodily fragments, both against and beyond humanity, the book is also about horror’s own attempt at re-forming or re-creating matter, from the perspective of post-human, non-human, and inhuman fragmentation. Through several contemporary instances of dismantling of human bodies and pulverization of body parts, this book makes several interrelated theoretical contributions. It works with contemporary post-(geo)political figures of horror—faces of concentration camp dwellers, body parts of victims of terror attacks, the outcome of suicide bombings, graphic reports of beheadings, re-compositions of melted and mingled remnants of non-human and human matter after 9/11—to challenge regimes of terror and security that seek to forcefully and ideologically reaffirm a biopolitics and thanatopolitics of human life in order to anchor today’s often devastating deployments of the metaphysics of substance. Critically enabling one to see how security and terror form a (geo)political continuum of violent mobilization, utilization, and often destruction of human and non-human bodies and lives, this book will be of interest to graduates and scholars of bio politics, international relations and security studies.

Providing an indispensable resource for academics as well as readers interested in the evolution of horror fiction in the 20th century, this book provides a readable yet critical guide to global horror fiction and authors. Horror Fiction in the 20th Century encompasses the world of 20th-century horror literature and explores it in a critical but balanced fashion. Readers will be exposed to the world of horror literature, a truly global phenomenon during the 20th century. Beginning with the modern genre's roots in the 19th century, the book proceeds to cover 20th-century horror literature in all of its manifestations, whether in comics, pulps, paperbacks, hardcover novels, or mainstream magazines, and from every country that produced it. The major horror authors of the century receive their due, but the works of many authors who are less well-known or who have been forgotten are also described and analyzed. In addition to providing critical assessments and judgments of individual authors and works, the book describes the evolution of the genre and the major movements within it. Horror Fiction in the 20th Century stands out from its competitors and will be of interest to its readers because of its informed critical analysis, its unprecedented coverage of female authors and writers of color, and its concise historical overview.

A slapstick satire on race relations featuring Gunnar Kaufman, a black writer from Santa Monica who becomes famous by saying all the right things whites want to hear. The novel pokes fun at both blacks and whites. A first novel.

Horror is a universally popular, pervasive TV genre, with shows like True Blood, Being Human, The Walking Dead and American Horror Story making a bloody splash across our television screens. This complete, utterly accessible, sometimes scary new book is the definitive work on TV horror. It shows how this most adaptable of genres has continued to be a part of the broadcast landscape, unsettling audiences and pushing the boundaries of acceptability. The authors demonstrate how TV Horror continues to provoke and terrify audiences by bringing the monstrous and the supernatural into the home, whether through adaptations of Stephen King and classic horror novels, or by reworking the gothic and surrealism in Twin Peaks and Carnivale. They uncover horror in mainstream television from procedural dramas to children's television and, through close analysis of landmark TV auteurs including Rod Serling, Nigel Kneale, Dan Curtis and Stephen Moffat, together with case studies of such shows as Dark Shadows, Dexter, Pushing Daisies, Torchwood, and Supernatural, they explore its evolution on television. This book is a must-have for those studying TV Genre as well as for anyone with a taste for the gruesome and the macabre.