Emotion Review 13 (3):171-182 (2021)

Becky Millar
University of York
Jonny Lee
University of Murcia
Many of the most popular and critically acclaimed horror films feature grief as a central theme. This article argues that horror films are especially suited to portraying and communicating the phenomenology of grief. We explore two overlapping claims. First, horror is well suited to represent the experience of grief, in particular because the disruptive effects of horror “monsters” on protagonists mirror the core experience of disruption that accompanies bereavement. Second, horror offers ways in which the experience of grief can be contained and regulated and, in doing so, may offer psychological benefits for the bereaved. While our focus will be squarely on film, much of what we say applies to other media.
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DOI 10.1177/17540739211022815
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References found in this work BETA

Scaffoldings of the Affective Mind.Giovanna Colombetti & Joel Krueger - 2015 - Philosophical Psychology 28 (8):1157-1176.
Narrative Explanation.J. David Velleman - 2003 - Philosophical Review 112 (1):1-25.
Towards a Phenomenology of Grief: Insights From Merleau‐Ponty.Matthew Ratcliffe - 2020 - European Journal of Philosophy 28 (3):657-669.
Grief and the Unity of Emotion.Matthew Ratcliffe - 2017 - Midwest Studies in Philosophy 41 (1):154-174.
Art and Negative Affect.Aaron Smuts - 2009 - Philosophy Compass 4 (1):39-55.

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