In Urban Horror Erin Y. Huang theorizes the economic, cultural, and political conditions of neoliberal post-socialist China. Drawing on Marxist phenomenology, geography, and aesthetics from Engels and Merleau-Ponty to Lefebvre and Rancière, Huang traces the emergence and mediation of what she calls urban horror—a sociopolitical public affect that exceeds comprehension and provides the grounds for possible future revolutionary dissent. She shows how documentaries, blockbuster feature films, and video art from China, Hong Kong, and Taiwan made between the 1990s and the present rehearse and communicate urban horror. In these films urban horror circulates through myriad urban spaces characterized by the creation of speculative crises, shifting temporalities, and dystopic environments inhospitable to the human body. The cinematic image and the aesthetics of urban horror in neoliberal post-socialist China lay the groundwork for the future to such an extent, Huang contends, that the seeds of dissent at the heart of urban horror make it possible to imagine new forms of resistance.

Previous ed. published in 2009 by Leisure Books.

"Describes scary urban legends, including The Vanishing Hitchhiker and The Babysitter on the Phone"--Provided by publisher.

Interest in the ancient, the occult, and the "wyrd" is on the rise. The furrows of Robin Hardy (The Wicker Man), Piers Haggard (Blood on Satan's Claw), and Michael Reeves (Witchfinder General) have arisen again, most notably in the films of Ben Wheatley (Kill List), as has the Spirit of Dark of Lonely Water, Juganets, cursed Saxon crowns, spaceships hidden under ancient barrows, owls and flowers, time-warping stone circles, wicker men, the goat of Mendes, and malicious stone tapes. Folk Horror: Hours Dreadful And Things Strange charts the summoning of these esoteric arts within the latter half of the twentieth century and beyond, using theories of psychogeography, hauntology, and topography to delve into the genre's output in film, television, and multimedia as its "sacred demon of ungovernableness" rises yet again in the twenty-first century.

This book explores the resurgence of rural horror following the events of 9/11, as a number of filmmakers, inspired by the films of the 1970s, moved away from the characteristic industrial and urban settings of apocalyptic horror, to return to American heartland horror. Examining the revival of rural horror in an era of city fear and urban terrorism, the author analyses the relationship of the genre with fears surrounding the Global War on Terror, exploring the films’ engagement with the political repercussions of 9/11 and the ways in which traces of traumatic events leave their mark on cultures. Arranged around the themes of dissent, patriotism, myth, anger and memorial, and with attention to both text and socio-cultural context in its interpretation of the films’ themes, Post-9/11 Heartland Horror offers a series of case studies covering a ten-year period to shed light on the manner in which the Post-9/11 Heartland Horror films scrutinize and unravel the events, aspirations, anxieties, discourses, dogmas, and socio-political conflicts of the post-9/11 era. As such, it will appeal to scholars and students of film studies, cultural studies and media studies, and those with interests in the relationship between popular culture and politics.

NATIONAL BESTSELLER • A family returns to their hometown—and to the dark past that haunts them still—in this masterpiece of literary horror by the New York Times bestselling author of Wanderers “The dread, the scope, the pacing, the turns—I haven’t felt all this so intensely since The Shining.”—Stephen Graham Jones, New York Times bestselling author of The Only Good Indians NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK PUBLIC LIBRARY AND LIBRARY JOURNAL Long ago, Nathan lived in a house in the country with his abusive father—and has never told his family what happened there. Long ago, Maddie was a little girl making dolls in her bedroom when she saw something she shouldn’t have—and is trying to remember that lost trauma by making haunting sculptures. Long ago, something sinister, something hungry, walked in the tunnels and the mountains and the coal mines of their hometown in rural Pennsylvania. Now, Nate and Maddie Graves are married, and they have moved back to their hometown with their son, Oliver. And now what happened long ago is happening again . . . and it is happening to Oliver. He meets a strange boy who becomes his best friend, a boy with secrets of his own and a taste for dark magic. This dark magic puts them at the heart of a battle of good versus evil and a fight for the soul of the family—and perhaps for all of the world. But the Graves family has a secret weapon in this battle: their love for one another.

Gary Karkofsky is an ordinary guy with an ordinary life living in an extraordinary world. Supervillains, heroes, and monsters are a common part of the world he inhabits. Yet, after the death of his hometown's resident superhero, he gains the amazing gift of the late champion's magical cloak. Deciding he prefers to be rich rather than good, Gary embarks on a career as Merciless: The Supervillain Without Mercy. But is he evil enough to be a villain in America's most crime-ridden city? Gary soon finds himself surrounded by a host of the worst of Falconcrest City's toughest criminals. Supported by his long-suffering wife, his ex-girlfriend turned professional henchwoman, and a has-been evil mastermind, Gary may end up being not the hero they want but the villain they need.

Half-devil and miles from anything resembling heroic, perpetual underdog Frank "Triggaltheron" Trigg is the last man standing against Armageddon. As the favorite nephew of the Devil, Frank has led a troubled life, but he'd always had his uncle's influence to fall back on. Now, with God and Lucifer coming to terms and leaving existence to fend for itself, his once exalted status of Anti-Christ-to-be does little to endear him to the hordes of angels and demons running amok in the Godless world. With help from the members of DRAC, an organization of wizards, psychics, telepaths, and low-end supernatural beings, Frank must thwart the pro-Armegeddon forces and rescue an angel in whose life rests the fate of humanity. Better luck next time, humanity.

A must-have thriller that will keep you gripped, keep you guessing, and keep you up all night. "A captivating and creeping mystery full of brilliantly twisting turns and dark secrets. You will race through this chilling, thrilling book." --Holly Jackson, bestselling author of A Good Girl's Guide to Murder Lola Nox is the daughter of a celebrated horror filmmaker--she thinks nothing can scare her. But when her father is brutally attacked in their New York apartment, she's quickly packed off to live with a grandmother she's never met in Harrow Lake, the eerie town where her father's most iconic horror movie was shot. The locals are weirdly obsessed with the film that put their town on the map--and there are strange disappearances, which the police seem determined to explain away. And there's someone--or something--stalking her every move. The more Lola discovers about the town, the more terrifying it becomes. Because Lola's got secrets of her own. And if she can't find a way out of Harrow Lake, they might just be the death of her. "Atmospheric and chilling." --Mindy McGinnis, author of The Female of the Species "You're going to want to read this one with all the lights on." --Cat Winters, author of In the Shadow of Blackbirds "A thrilling mindbender." --BCCB "A sinister story that slowly builds to a heart-pounding climax." --Kirkus Reviews "Bound to give you jittery nightmares--when you can finally fall asleep." --Emma Berquist, author of Devils Unto Dust

A new edition of this extensive visual analysis of horror tropes and their architectural analogues Horror in Architecture presents an unflinching look at how horror genre tropes manifest in the built environment. Spanning the realms of art, design, literature, and film, this newly revised and expanded edition compiles examples from all areas of popular culture to form a visual anthology of the architectural uncanny. Rooted in the Romantic and Gothic treatment of horror as a serious aesthetic category, Horror in Architecture establishes incisive links between contemporary horror media and its parallel traits found in various architectural designs. Through chapters dedicated to distorted and monstrous buildings, abandoned spaces, extremes of scale, and other structural peculiarities, and featuring new essays on insurgent natures, blobs, and architectural puppets, this volume brings together diverse architectural anomalies and shows how their unsettling effects deepen our fascination with the unreal. Intended for both horror fans and students of visual culture, Horror in Architecture turns a unique lens on the relationship between the human body and the artificial landscapes it inhabits. Extensively illustrated with photographs, film stills, and diagrams, this book retrieves horror from the cultural fringes and demonstrates how its attributes permeate the modern condition and the material world.