Cinematic Emotion in Horror Films and Thrillers - Hanich, Julian
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Why can fear be pleasurable? Why do we sometimes enjoy an emotion we otherwise desperately wish to avoid? And why are the movies the predominant place for this paradoxical experience? These are the central questions of Julian Hanich's path-breaking book, in which he takes a detailed look at the various aesthetic strategies of fear as well as the viewer's frightened experience. By drawing on prototypical scenes from horror films and thrillers like Rosemary's Baby, The Silence of the Lambs, Seven and The Blair Witch Project, Hanich identifies five types of fear at the movies and thus provides a…mehr

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Produktbeschreibung
Why can fear be pleasurable? Why do we sometimes enjoy an emotion we otherwise desperately wish to avoid? And why are the movies the predominant place for this paradoxical experience? These are the central questions of Julian Hanich's path-breaking book, in which he takes a detailed look at the various aesthetic strategies of fear as well as the viewer's frightened experience. By drawing on prototypical scenes from horror films and thrillers like Rosemary's Baby, The Silence of the Lambs, Seven and The Blair Witch Project, Hanich identifies five types of fear at the movies and thus provides a much more nuanced classification than previously at hand in film studies. His descriptions of how the five types of fear differ according to their bodily, temporal and social experience inside the auditorium entail a forceful plea for relying more strongly on phenomenology in the study of cinematic emotions.
Autorenporträt
Julian Hanich teaches film and media studies, currently working at the interdisciplinary research center "Languages of Emotion" of the Free University Berlin. His articles have appeared in The New Review of Film and Television Studies, Jump Cut and Film-Philosophy. In his research he focuses on cinematic emotions and affects, the viewer's imagination, film and phenomenology, the collective viewing experience as well as genre studies (melodrama, pornography, comedy, heist movies). He is also a film critic for the Berlin-based daily Der Tagesspiegel.