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  1. The politics of big fantasy: the ideologies of Star Wars, The Matrix and The Avengers.John C. McDowell - 2014 - Jefferson, North Carolina: McFarland & Company, Inc., Publishers.
    Introduction: Why so serious? -- The super body-politic: nationally assembling Joss Whedon's exceptional The avengers -- "He was deceived by a lie": tragedy and the dark plague of the politics of fear in George Lucas' Star wars -- Dystopian polyvalence: emancipating the mediated life from The matrix.
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  2. The politics of big fantasy: the ideologies of Star Wars, The Matrix and The Avengers.John C. McDowell - 2014 - Jefferson, North Carolina: McFarland & Company, Inc., Publishers.
    Introduction: Why so serious? -- The super body-politic: nationally assembling Joss Whedon's exceptional The avengers -- "He was deceived by a lie": tragedy and the dark plague of the politics of fear in George Lucas' Star wars -- Dystopian polyvalence: emancipating the mediated life from The matrix.
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  3. Body, soul and cyberspace in contemporary science fiction cinema: virtual worlds and ethical problems.Sylvie Magerstädt - 2014 - New York, NY: Palgrave-Macmillan.
    Body, Soul and Cyberspace explores how recent science-fiction cinema addresses questions about the connections between body and soul, virtuality, and the ways in which we engage with spirituality in the digital age. The book investigates notions of love, life and death, taking an interdisciplinary approach by combining cinematic themes with religious, philosophical and ethical ideas. Magerstädt argues how even the most spectacle-driven mainstream films such as Avatar, The Matrix and Terminator can raise interesting and important questions about the human self (...)
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  4. The Monster Out.Myung Choi & Ik Suk Kim - 2006 - Semiotics:271-278.
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  5. Rational Horror.Steven J. Smith - 1983 - Philosophy Today 27 (4):307-316.
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  6. Horror and the Deconstruction of the Self.Jerome A. Miller - 1988 - Philosophy Today 32 (4):286-298.
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  7. Horror relïgiosus.Hent de Vries - 2000 - Krisis 1 (4):41-53.
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  8. Nasty Histories: Medievalism and Horror.John Arnold - 1998 - In John Arnold, Kate Davies & Simon Ditchfield (eds.), History and Heritage: Consuming the Past in Contemporary Culture. Donhead. pp. 39--50.
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  9. Gumbrecht, HU:" Lento presente. Sintomatología del nuevo tiempo histórico".Eduardo Maura Zorita - 2011 - Anales Del Seminario de Historia de la Filosofía 28:347-351.
    Partiendo de la pregunta clásica por el origen del mal y sus determinaciones, se trataría aquí de analizar las representaciones del mal en la obra de aquellos escritores (Littell, Amis, Sebald) que, en nuestros días, mucho después de Adorno, recurren a la categoría filosófica del mal y a cierta estética del horror como motivos genuinos del impulso literario.
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  10. De'Horror of Holland'.Ton Vink - 2009 - Filosofie En Praktijk 30 (1):53.
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  11. Aquilatando el horror. Ian Smillie (2010), Piedras con sangre. Avaricia, corrupción y guerra en el comercio internacional de diamantes, Madrid, Plaza y Valdés, 2012.Ester Massó Guijarro - 2012 - Dilemata 9:251-258.
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  12. Blackwell Companion to the Horror Film.Harry Benshoff (ed.) - forthcoming - Blackwell.
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  13. Oboljevanje i filozofija-Petar Bojanić: Homeopatije-horror autotoxicus, Službeni glasnik, Beograd, 2009.Predrag Krstić - 2010 - Theoria: Beograd 53 (1):141-145.
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  14. The Death: The Horror of the Plague [Book Review].Andrew Doyle - 2010 - Agora (History Teachers' Association of Victoria) 45 (1):65.
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  15. Emotion and art: a defense of an embodied theory of cinematic horror.Ka-Chung Yeung & 楊家頌 - unknown
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  16. Horror metaphysicus. Transcendencja a pragnienie obecności.Cezary Woźniak - 2012 - Przeglad Filozoficzny - Nowa Seria 82 (2):499-507.
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  17. A humean definition of horror.Daniel Shaw - 1997 - Film-Philosophy 1 (1).
    on The Philosophy of Horror by Noel Carroll.
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  18. Horror and Tragedy: The Wings and Center of the Moral Stage.Robert I. Levy - 1985 - Ethos: Journal of the Society for Psychological Anthropology 13 (2):175-187.
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  19. Crimen organizado, horror político y coraje cívico.Lluís Pla Vargas - 2011 - Astrolabio 12:128 - 132.
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  20. Back at the Ranch: a Horror Story.Peter Singer & Karen Dawn - unknown
    A ranch owner in San Diego County disposes of 30,000 nonproductive egg-laying hens by feeding them into a wood chipper. Live hens are dumped into the shredder, some likely to hit feet first, some breast first. Sound like a scene from a horror movie? It's a true story. One would surely expect the ranchers to be prosecuted, but California humane slaughter laws do not cover unproductive egg-laying hens.
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  21. Of Bastard Man and Evil Woman, or, the Horror of Sex.Lorenzo Chiesa - 2012 - Film-Philosophy 16 (1):199-212.
    Lars von Trier’s Antichrist (2009) has often been described as a ‘gothic’, if not straightforwardly ‘horror’ movie. While this claim could easily be challenged with regard to strict genre definitions, it is doubtless the case that the film deals very explicitly with fear, first and foremost the female protagonist’s fear of herself, which is placed at the top of the so-called ‘pyramid of fear’ drawn by her therapist/wanna-be-Saviour partner. My opinion is that Antichrist perfectly displays the horrific effects of the (...)
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  22. Horror pleni: la (in)civiltà del rumore.Gillo Dorfles - 2008 - Roma: Castelvecchi.
    E allora - possiamo mantenere, anche nel nostro 'Horror Pleni' quotidiano, una consapevolezza?
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  23. De vrijblijvendheid van Auschwitz of de postmoderne leegte en de fundamentalistische "Horror Vacui".Karel Boullart - 1988 - Philosophica 41.
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  24. Objectivity and Horror in Morality.John Kekes - 1988 - Philosophy and Literature 12 (2):159-178.
    All moral traditions have some deep conventions. In sound moral traditions, Deep conventions protect universal and necessary conditions of human welfare. One type of moral horror occurs when moral agents realize that they have performed characteristic actions by which they have unknowingly and unintentionally violated deep conventions of their moral tradition. This type of moral horror has a dual significance for morality. Its occurrence shows that morality is wider than the domain of human autonomy. Also, The experience of moral horror (...)
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  25. Cruelty, horror, and the will to redemption.Lynne S. Arnault - 2003 - Hypatia 18 (2):155-188.
    : Americans cherish the idea that good eventually triumphs over evil. After briefly arguing that a proper understanding of the moral harm of cruelty calls into question the credibility of popular American idioms of redemption, I argue that the epistemic dynamics of horror help account for the commanding grip of this rhetoric on the popular imagination, and I suggest that this idiom has morally problematic features that warrant the attention of feminists.
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Horror Film
  1. Stereotyp ohně V gotickém hororu 60. let.Elian Poslední - manuscript
    V této práci se zaměřím na stereotypy ve filmovém gotickém hororu 60. let, jejich symboliku a možné filosofické souvislosti.
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  2. Interpretace scénáře filmu Dvě tváře Dr. Jekylla v kontextu díla F. Nietzcheho.Elian Poslední - manuscript
    Film Two Faces of Dr. Jekyll (1960, režie Terrence Fisher) by se dal interpretovat skrze dílo F. Nietzscheho. -/- Při interpretaci vycházím především z díla „Mimo dobro a zlo”, dále pak z děl „Tak pravil Zarathustra" a „Vůle k moci”. -/- V tomto filmu nevystupuje Dr. Jekyll jako ztělesnění dobra, jak tomu bylo v předloze, nýbrž jako obraz samotného Nietzscheho, člověka zapáleného pro hledání vyššího bytí, pro hledání nadčlověka. Člověka odsouzeného ke zkáze. -/- Jekyllova nevyrovnanost, vášeň a touha po nadčlověku (...)
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  3. Paradox of Rape in Horror Movies.Lucia Schwarz - 2022 - British Journal of Aesthetics 62 (4):671-686.
    In this paper, I identify and provide an explanation for a heretofore unrecognized puzzle in feminist aesthetics and the philosophy of horror. Many horror movie fans have an aversion to rape scenes. This is puzzling because genre fans are not equally bothered by the depiction of other types of violence and cruelty. I argue that we can make sense of this selective aversion by appeal to the notion of ‘distance’, which philosophers of horror use to explain why people are attracted (...)
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  4. David Huckvale (2020) Terrors of the Flesh: The Philosophy of Body Horror in Film.Kristina Šekrst - 2022 - Film-Philosophy 26 (2):280-283.
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  5. Horror and Its Affects.Darren Hudson Hick - 2022 - Journal of Aesthetics and Art Criticism 80 (2):140-150.
    In this article, following a trajectory set out by Noël Carroll, Matt Hills, and Andrea Sauchelli, I propose a definition of horror, according to which something qualifies as a work of horror if and only if it centrally and demonstrably aims at provoking one or more of a particular set of negative affects. A catalog of characteristically negative affects is associated with horror—including terror, revulsion, the uncanny, and the abject—but which cannot be collapsed into any single affect. Further complicating matters (...)
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  6. Appealing, Appalling: Morality and Revenge in I Spit on Your Grave (2010).Steve Jones - 2022 - Quarterly Review of Film and Video:1-25.
    Despite being a prevalent theme in popular cinema, revenge has received little dedicated attention within film studies. The majority of research concerning the concept of revenge is located within moral philosophy, but that body of literature has been overlooked by film studies scholars. Philosophers routinely draw on filmic examples to illustrate their discussions of revenge, but those interpretations are commonly hindered by their authors’ inexperience with film studies’ analytical methods. This article seeks to bridge those gaps. The 2010 remake of (...)
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  7. The Affective Nature of Horror.Filippo Contesi - 2022 - In Max Ryynänen, Heidi Kosonen & Susanne Ylönen (eds.), Cultural Approaches to Disgust and the Visceral. Routledge. pp. 31-43.
    The horror genre (in film, literature etc.) has, for its seemingly paradoxical aesthetic appeal, been the subject of much debate in contemporary, analytic philosophy of art. At the same time, however, the nature of horror as an affective phenomenon has been largely neglected by both aestheticians and philosophers of mind. The standard view of the affective nature of horror in contemporary philosophy follows Noël Carroll in holding that horror in art (or “art-horror”) is an emotion resulting from the combination of (...)
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  8. Haunted by the Other: Levinas, Derrida and the Persecutory Phantom.Michael Burke - 2021 - Film-Philosophy 25 (3):362-385.
    In this article, I explore what I call the persecutory trope – which underscores the alterity of the phantom and its relentless haunting and spectral oppression of the protagonists – in recent American ghost films, connecting it to the ethical thought of the continental philosophers, Emmanuel Levinas and Jacques Derrida. Films like The Ring, The Grudge, It Follows, and Sinister depict terrifying spectral antagonists whose relentless persecution of the protagonists often defies comprehension and narrative closure. I suggest that these films (...)
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  9. If Nancy Doesn’t Wake Up Screaming: The Elm Street Series as Recurring Nightmare.Steve Jones - 2021 - In Mark McKenna & William Proctor (eds.), Horror Franchise Cinema. London, England: Routledge. pp. 81-93.
    Long-running horror series are reputed to yield diminishing returns (both in terms of profit and quality). At first glance, the A Nightmare on Elm Street series appears to fit that established pattern. For instance, lead antagonist Freddy supposedly ‘deteriorates’ from sinister, backlit child molester to comic-book ‘Las Vegas lounge’ stand-up act by the end of the 1980s (Schoell and Spencer 1992, 116). However, interviews from the period indicate that comedy was a central component from the outset of the series; it (...)
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  10. A View to a Kill: Perspectives on Faux-Snuff and Self.Steve Jones - 2016 - In N. Jackson, S. Kimber, J. Walker & T. Watson (eds.), Snuff: Real Death and Screen Media.
    Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective, and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that the (...)
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  11. Carroll on the Emotion of Horror.Filippo Contesi - 2020 - Projections: The Journal for Movies and Mind 14 (3):47-54.
    Noël Carroll’s influence on the contemporary debate on the horror genre is hard to overestimate. His work on the topic is often celebrated as one of the best instances of interdisciplinary dialogue between film studies and philosophy of art. It has provided the foundations for the contemporary study of horror in art. Yet, for all the critical attention that his views on horror have attracted over the years, little scrutiny has been given to the nature itself of the emotion of (...)
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  12. Barbarous Spectacle and General Massacre: A Defence of Gory Fictions.Ian Stoner - 2020 - Journal of Applied Philosophy 37 (4):511-527.
    Many people suspect it is morally wrong to watch the graphically violent horror films colloquially known as gorefests. A prominent argument vindicating this suspicion is the Argument from Reactive Attitudes (ARA). The ARA holds that we have a duty to maintain a well-functioning moral psychology, and watching gorefests violates that duty by threatening damage to our appropriate reactive attitudes. But I argue that the ARA is probably unsound. Depictions of suffering and death in other genres typically do no damage our (...)
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  13. A View to a Kill: Perspectives on Faux-Snuff and Self.Steve Jones - 2016 - In N. Jackson, S. Kimber, J. Walker & T. Watson (eds.), Snuff: Real Death and Screen Media. London, U.K.: Bloomsbury. pp. 277-292.
    Scholarly debate over faux-snuff’s content has predominantly focused on realism and affect. This paper seeks to offer an alternative interpretation, examining what faux-snuff’s form reveals about self. Faux-snuff is typically presented from a first-person perspective, and as such is foundationally invested in the killer’s experiences as they record their murder spree. First then, I propose that the simulated-snuff form reifies self-experience in numerous ways. Faux-snuff’s characteristic formal attributes capture the self’s limited, fractured qualities, for example. Second, I contend that the (...)
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  14. Twisted Pictures: morality, nihilism and symbolic suicide in the Saw series.Steve Jones - 2013 - In Jefferson McFarland (ed.), To See the Saw Movies: Essays on Torture Porn and Post-9/11 Horror. pp. 105-122.
    Given that numerous critics have complained about Saw’s apparently confused sense of ethics, it is surprising that little attention has been paid to how morality operates in narrative itself. Coming from a Nietzschean perspective - specifically questioning whether the lead torturer Jigsaw is a passive or a radical nihilist - I seek to rectify that oversight. This philosophical reading of the series explores Jigsaw’s moral stance, which is complicated by his hypocrisy: I contend that this underpins critical complaints regarding the (...)
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  15. Torture Pornopticon: security Cameras, Self-Governance and Autonomy.Steve Jones - 2015 - In Xavier Aldana Reyes & Linnie Blake (eds.), Digital Horror: Haunted Technologies, Network Panic and the Found Footage Phenomenon. Bloomsbury.
    ‘Torture porn’ films centre on themes of abduction, imprisonment and suffering. Within the subgenre, protagonists are typically placed under relentless surveillance by their captors. CCTV features in more than 45 contemporary torture-themed films. Security cameras signify a bridging point between the captors’ ability to observe and to control their prey. Founded on power-imbalance, torture porn’s prison-spaces are panoptical. Despite failing to encapsulate contemporary surveillance’s complexities, the panopticon remains a dominant paradigm within surveillance studies because it captures essential truths about the (...)
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  16. Spierig Brothers' Jigsaw (2017) - Torture Porn Rebooted?Steve Jones - 2019 - In Simon Bacon (ed.), Horror: A Companion. Oxford, UK: Peter Lang. pp. 85-92.
    After a seven-year hiatus, the Saw franchise returned. Critics overwhelming disapproved of the franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype. Accordingly, critics characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter investigates the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era.
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  17. An Aesthetic of Horror Film Music.Ka Chung Lorraine Yeung - 2019 - Film and Philosophy 23:159-178.
    In this paper I develop an aesthetic of horror film music based on the film sound theorist Kevin Donnelly's "direct access thesis". This states that horror film scores have the power to provide "direct accesses" to the bodies of an audience; they "produce bodily sensations, excite (mainly negative) emotions and insert in the audience "frames of mind and attitudes...much like a direct injection". I first argue that two dominant theories in the field, namely, the culturalist theory of film music and (...)
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  18. The Nature of Horror Reconsidered.Lorraine Yeung - 2018 - International Philosophical Quarterly 58 (2):125-138.
    There is a growing interest in the role of non-cognitive affective responses in the philosophical literature on fiction and emotion. This flurry of scholarly interest is partly a reaction to cognitivist accounts of fiction and emotion that have been found to be inadequate. The inadequacy is particularly salient when this approach is employed to account for narrative horror. Cognitivist conceptions of the emotion engendered by narrative horror prove to be too restrictive. Cognitivist accounts also fail to give the formal devices (...)
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  19. Cartesianism and Intersubjectivity in Paranormal Activity and the Philosophy of Mind.Steve Jones - 2017 - Film-Philosophy 21 (1):1-19.
    Over the last century within the philosophy of mind, the intersubjective model of self has gained traction as a viable alternative to the oft-criticised Cartesian solipsistic paradigm. These two models are presented as incompatible inasmuch as Cartesians perceive other minds as “a problem” for the self, while intersubjectivists insist that sociality is foundational to selfhood. This essay uses the Paranormal Activity series (2007–2015) to explore this philosophical debate. It is argued that these films simultaneously evoke Cartesian premises (via found-footage camerawork), (...)
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  20. Monsters and the Paradox of Horror.Mark Vorobej - 1997 - Dialogue 36 (2):219-246.
    L'horreur en art vise à effrayer, bouleverser, dégoûter et terroriser. Puisque nous ne sommes pas normalement attirés par de ielles expériences, pourquoi quiconque s'exposerait-il délibérément a la fiction d'horreur? Noel Carroll soutient que le caractère constant du phénomène de l'horreur en art tient à certains plaisirs d'ordre cognitif, qui résultent de la satisfaction de notre curiosité naturelle à l'ègard des monstres. Je soutiens, quant è moi, que la solution cognitive de Carroll auparadoxe de l'horreur est profondément erronée, étant donné la (...)
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  21. The Naked and the Undead: Evil and the Appeal of Horror.Hilary Radner - 2003 - Hypatia 18 (2):215-222.
  22. The Virtue of Horror Films.S. Evan Kreider - 2008 - International Journal of Applied Philosophy 22 (1):149-157.
    In “The Immorality of Horror Films” (International Journal of Applied Philosophy 20:2 [2006], 278), Gianluca Di Muzio argues that it is immoral to produce, distribute, or watch so-called “slasher” or “gorefest” films. Though I am sympathetic, I don’t believe that his arguments warrant his conclusion. In this paper, I will respond to Di Muzio. In particular, I will focus on what I take to be his core argument, which is based on the idea that these films discourage morally appropriate reactions (...)
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  23. The Silver Lining of Horror.Dirk H. R. Spennemann - 2003 - Teaching Ethics 3 (2):93-97.
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  24. Chapter 18. multimodal expressions of the human victim is animal metaphor in horror films.Eduardo Urios-Aparisi & Charles J. Forceville - 2009 - In Eduardo Urios-Aparisi & Charles J. Forceville (eds.), Multimodal Metaphor. Mouton de Gruyter.
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  25. The Philosophy of Horror, or Paradoxes of the Heart.Mary Devereaux - 1992 - Philosophical Review 101 (4):950.
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