Scare Tactics, the first book on the subject, provides a theory of the structure of reasoning used in fear and threat appeal argumentation. Such arguments come under the heading of the argumentum ad baculum, the `argument to the stick/club', traditionally treated as a fallacy in the logic textbooks. The new dialectical theory is based on case studies of many interesting examples of the use of these arguments in advertising, public relations, politics, international negotiations, and everyday argumentation on all kinds of subjects. Many of these arguments are amusing, once you see the clever tactic used; others are scary. Some of the arguments appear to be quite reasonable, while others are highly suspicious, or even outrageously fraudulent. In addition to the examples taken from logic textbooks, other cases treated come from a variety of sources, including political debates, legal arguments, and arguments from media sources, like magazine articles and television ads. The purpose of this book is to explain how such arguments work as devices of persuasion, and to develop a method for analyzing and evaluating their reasonable and fallacious uses in particular cases. The book shows how such arguments share a common structure, revealing several distinctive forms of argument nested within each other. Based on its account of this cognitive structure, the new dialectical theory presents methods for identifying, analyzing, and evaluating these arguments, as they are used in specific cases. The book is a scholarly contribution to argumentation theory. It is written in an accessible style, and uses many colorful and provocative examples of fear and threat appeal arguments that are suitable for classroom discussions. The matters treated will be of interest to professionals and students in law, critical thinking, advertising, speech communication, informal logic, cognitive science, rhetoric, and media studies.

Why do international situations spiral out of control and into war? Why do conflicts finally wind down after years, if not decades, of tension? Various faults in conventional thinking, ranging from relying on indeterminate predictions to ignoring the interaction between domestic and international events, have impeded adequate explanations for the continuation, escalation, and dampening of rivalry conflict. In Scare Tactics: The Politics of International Rivalry, Michael P. Colaresi explains how domestic institutions and interactions among nations converge to create incentives for either war or peace. Specifically, domestic pressure to continue a rivalry and resist capitulating to the "enemy" can be exacerbated in situations where elites benefit from fear-mongering, a process Colaresi refers to as "rivalry outbidding." When rivalry outbidding becomes fused with pressure to change the status quo, even a risky escalation may be preferable to cooperation or rivalry maintenance. The eventual outcomes of such dynamic two-level pressures, if unchecked, are increased conflict, destruction, and death. Colaresi contends, however, that if leaders can resist pressures to escalate threats and step up rivalries, a deteriorating status quo can instead spur cooperation and peace.

Scare Tactics identifies an important but overlooked tradition of supernatural writing by American women. Jeffrey Weinstock analyzes this tradition as an essentially feminist attempt to imagine alternatives to a world of limited possibilities. In the process, he recovers the lives and works of authors who were important during their lifetimes and in the development of the American literary tradition, but who are not recognized today for their contributions. Between the end of the Civil War and roughly 1930, hundreds of uncanny tales were published by women in the periodical press and in books. These include stories by familiar figures such as Edith Wharton, Harriet Beecher Stowe, and Charlotte Perkins Gilman, as well as by authors almost wholly unknown to twenty-first-century readers, such as Josephine Dodge Bacon, Alice Brown, Emma Frances Dawson, and Harriet Prescott Spofford. Focusing on this tradition of female writing offers a corrective to the prevailing belief within American literary scholarship that the uncanny tale, exemplified by the literary productions of Irving, Poe, and Hawthorne, was displaced after the Civil War by literary realism. Beyond the simple existence of an unacknowledged tradition of uncanny literature by women, Scare Tactics makes a strong case that this body of literature should be read as a specifically feminist literary tradition. Especially intriguing, Weinstock demonstrates, is that women authors repeatedly used Gothic conventions to express discontentment with circumscribed roles for women creating types of political intervention connected to the broader sphere of women's rights activism. Paying attention to these overlooked authors helps us better understand not only the literary marketplace of their time, but also more familiar American Gothicists from Edgar Allan Poe to Shirley Jackson to Stephen King.

The insider's guide to making your first horror movie, covering the art, craft, and trade secrets of writing, producing, and directing chillers and thrillers. Filled with valuable tips and featuring interviews with some of today's hottest filmmakers, including Wes Craven, Clive Barker, John Landis, and Rick Baker. Photographs.

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Batman must face the madness of the Mad Hatter, and then take on the Talons of the Court of Owls! But even if he survives that, he must face a whole new set of fears when the Scarecrow returns! Can the Dark Knight overcome the terror the Scarecrow brings? And explore the bizarre similarities between these two enemies and how the idea of fear has shaped their lives!

What do we do when a formerly vibrant back-to-the-Bible movement drifts into a toxic swamp rimmed with attack dogs? Charles Redfern faces that grim question squarely. He discovers that American evangelical Christianity, which surged in the mid-twentieth century and offered a more genteel, intellectually vigorous alternative to caustic fundamentalism, fell into the hands of intimidators and backbiters. It was a short journey from there to the movement’s partisan sell-out and the abandonment of time-honored creeds. Redfern describes his own story, in which he came into the faith at the movement’s height in the 1970s, then views evangelicalism’s decay across its spectrum. He doesn’t spare conflict-adverse moderates in the process. But he also discovers hope: A winsome remnant survives, and its wooing the back-to-the-Bible people back to the Bible, bearing the fruits of the Holy Spirit as they do so.

“Glasby anatomizes horror’s scare tactics with keen, lucid clarity across 34 carefully selected main films—classic and pleasingly obscure. 4 Stars.” —Total Film? Horror movies have never been more critically or commercially successful, but there’s only one metric that matters: are they scary? The Book of Horror focuses on the most frightening films of the post-war era—from Psycho (1960) to It Chapter Two (2019)—examining exactly how they scare us across a series of key categories. Each chapter explores a seminal horror film in depth, charting its scariest moments with infographics and identifying the related works you need to see. Including references to more than one hundred classic and contemporary horror films from around the globe, and striking illustrations from Barney Bodoano, this is a rich and compelling guide to the scariest films ever made. “This is the definitive guide to what properly messes us up.” —SFX Magazine The films: Psycho (1960), The Innocents (1961), The Haunting (1963), Don’t Look Now (1973), The Exorcist (1973), The Texas Chain Saw Massacre (1974), Who Can Kill a Child? (1976), Suspiria (1977), Halloween (1978), The Shining (1980), The Entity (1982), Angst (1983), Henry: Portrait of a Serial Killer (1990), Ring (1998), The Blair Witch Project (1999), The Others (2001), The Eye (2002), Ju-On: The Grudge (2002), Shutter (2004), The Descent (2005), Wolf Creek (2005), The Orphanage (2007), [Rec] (2007), The Strangers (2008), Lake Mungo (2008), Martyrs (2008), The Innkeepers (2011), Banshee Chapter (2013), Oculus (2013), The Babadook (2014), It Follows (2015), Terrified (2017), Hereditary (2018), It Chapter Two (2019)

Finalist, 2021 Bram Stoker Awards (Superior Achievement in Non-Fiction) The first collection of essays to address Satan’s ubiquitous and popular appearances in film Lucifer and cinema have been intertwined since the origins of the medium. As humankind’s greatest antagonist and the incarnation of pure evil, the cinematic devil embodies our own culturally specific anxieties and desires, reflecting moviegoers’ collective conceptions of good and evil, right and wrong, sin and salvation. Giving the Devil His Due is the first book of its kind to examine the history and significance of Satan onscreen. This collection explores how the devil is not just one monster among many, nor is he the “prince of darkness” merely because he has repeatedly flickered across cinema screens in darkened rooms since the origins of the medium. Satan is instead a force active in our lives. Films featuring the devil, therefore, are not just flights of fancy but narratives, sometimes reinforcing, sometimes calling into question, a familiar belief system. From the inception of motion pictures in the 1890s and continuing into the twenty-first century, these essays examine what cinematic representations tell us about the art of filmmaking, the desires of the film-going public, what the cultural moments of the films reflect, and the reciprocal influence they exert. Loosely organized chronologically by film, though some chapters address more than one film, this collection studies such classic movies as Faust, Rosemary’s Baby, The Omen, Angel Heart, The Witch, and The Last Temptation of Christ, as well as the appearance of the Devil in Disney animation. Guiding the contributions to this volume is the overarching idea that cinematic representations of Satan reflect not only the hypnotic powers of cinema to explore and depict the fantastic but also shifting social anxieties and desires that concern human morality and our place in the universe. Contributors: Simon Bacon, Katherine A. Fowkes, Regina Hansen, David Hauka, Russ Hunter, Barry C. Knowlton, Eloise R. Knowlton, Murray Leeder, Catherine O’Brien, R. Barton Palmer, Carl H. Sederholm, David Sterritt, J. P. Telotte, Jeffrey Andrew Weinstock