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The Evolution of Horror in the Twenty-First Century
Simon Bacon (Anthology Editor) , Carina Bissett (Contributor) , M. Keith Booker (Contributor) , John Edgar Browning (Contributor) , Kevin Corstorphine (Contributor) , Ian Fetters (Contributor) , Gemma Files (Contributor) , Teresa Fitzpatrick (Contributor) , Jacob Floyd (Contributor) , Brandon R. Grafius (Contributor) , Neil Jackson (Contributor) , Mikel J. Koven (Contributor) , Laura R. Kremmel (Contributor) , Carlos Littles (Contributor) , Natasha C. Marchini (Contributor) , Joan Passey (Contributor) , Gwyneth Peaty (Contributor) , Lorna Piatti-Farnell (Contributor) , Angela Marie Smith (Contributor) , Erik Steinskog (Contributor) , Jeffrey Andrew Weinstock (Contributor) , Maisha Wester (Contributor) , Kevin J. Wetmore,Jr. (Contributor)
The Evolution of Horror in the Twenty-First Century
Simon Bacon (Anthology Editor) , Carina Bissett (Contributor) , M. Keith Booker (Contributor) , John Edgar Browning (Contributor) , Kevin Corstorphine (Contributor) , Ian Fetters (Contributor) , Gemma Files (Contributor) , Teresa Fitzpatrick (Contributor) , Jacob Floyd (Contributor) , Brandon R. Grafius (Contributor) , Neil Jackson (Contributor) , Mikel J. Koven (Contributor) , Laura R. Kremmel (Contributor) , Carlos Littles (Contributor) , Natasha C. Marchini (Contributor) , Joan Passey (Contributor) , Gwyneth Peaty (Contributor) , Lorna Piatti-Farnell (Contributor) , Angela Marie Smith (Contributor) , Erik Steinskog (Contributor) , Jeffrey Andrew Weinstock (Contributor) , Maisha Wester (Contributor) , Kevin J. Wetmore,Jr. (Contributor)
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Description
The Evolution of Horror in the Twenty-First Century examines the intimate connections between the horror genre and its audience’s experience of being in the world at a particular historical and cultural moment. This book not only provides frameworks with which to understand contemporary horror, but it also speaks to the changes wrought by technological development in creation, production, and distribution, as well as the ways in which those who are traditionally underrepresented positively within the genre- women, LGBTQ+, indigenous, and BAME communities - are finally being seen and finding space to speak.
Table of Contents
Chapter 1. Horror Theory Now: Thinking About Horror
Kevin Corstophine
Chapter 2. Decadent Feasts: Aesthetics, Ethics, and Twenty-First-Century Prestige Horror Television
Jeffrey Andrew Weinstock
Chapter 3. Horror Cinema and Censorship in the Twenty-first Century
Neil Jackson
CHAPTER 4. The Recurrence and Evolution of Universal's Classic Monsters in Twenty-first Century Horror
M. Keith Booker
Chapter 5. The Remixing (and Ransacking) of Hill House: Surveying the Spectral Presence of Shirley Jackson in Contemporary Gothic Fiction
Joan Passey
Part II: Media and Consumption
Chapter 6. Further Notes Towards a Monster Pedagogy
John Edgar Browning
Chapter 7. Sounding Horror: Ballads, Ring Shouts, and the Power of Music in Black Horror
Erik Steinskog
Chapter 8. The Evolution of Horror on Stage
Kevin J. Wetmore Jr.
Chapter 9. Hauntify the World: New Directions in Video Game Horror
Gwyneth Peaty
Chapter 10. The Evolution of Horror and New
Product details
Published | 15 Mar 2023 |
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Format | Ebook (Epub & Mobi) |
Edition | 1st |
Extent | 340 |
ISBN | 9781793643407 |
Imprint | Lexington Books |
Illustrations | 6 b/w illustrations; |
Series | Research in Horror Studies |
Publisher | Bloomsbury Publishing |
About the contributors
Reviews
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The twenty-first century has seen a new golden age of horror cinema with a wide array of innovative and provocative films from creators around the globe. The essays in The Evolution of Horror in the Twenty-First Century capture the breadth and vibrancy of this period. The essays also make the important point that horror films in the twenty-first century are not only reflections of political and social tensions but are actively and critically engaged in advocating for change.
Kendall R. Phillips, Syracuse University
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The Evolution of Horror in the Twenty-First Centurycaptures a sense of what could be argued to be the two liveliest decades in the history of horror yet. This goes for the increasing diversity of the genre—in production and distribution technologies, national cinematic traditions and styles, and the range of thematic options—but also for horror’s status as an object of fan adoration, popular appreciation, and academic study. Readers, academic or otherwise, interested in where horror stands today will appreciate Simon Bacon’s collection as a valuable contribution to the study of the genre in one of its most creatively and commercially vital periods.
Steffen Hantke, Sogang University

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