A collection of lists, reviews, and interviews about the horror genre in film and beyond Includes categorical lists and in-depth articles covering horror movies, literature, television, graphic novels, and music Horror is a dominant form of cultural expression in the 20th/21st centuries

Sitting on pins and needles, anxiously waiting to see what will happen next, horror audiences crave the fear and exhilaration generated by a terrifying story; their anticipation is palpable. But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror’s ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley’s Frankenstein (1818), horror films of the 1930s, Stephen King’s novels, Stanley Kubrick’s adaptation of The Shining (1980), and Alfred Hitchcock’s Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote’s In Cold Blood (1965), Patrick Süskind’s Perfume (1985), and James Purdy’s Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and “torture-horror” films of the last decade, including Saw (2004), Hostel (2005), The Devil’s Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen. The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror’s various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today’s media-hungry society.

An End to the Thrill is a collection of science fiction short stories, each one totally unique in its own way. The build up to the end of every story has been written in a way that will amaze readers, and each story has its own theme, its own genre, and its own different setting. As you reach the end of every story, be sure to expect the unexpected. The plot twists will appeal to readers of all ages. Born in New Delhi, India, Varun Kumar is currently pursuing his Master's in Electrical Engineering at the University of Texas at Dallas. His next book is a thriller with a touch of romance. Publisher's website: http: //sbpra.com/VarunKumar/

The Oxford Handbook of Cognitive Literary Studies applies developments in cognitive science to a wide range of literary texts that span multiple historical periods and numerous national literary traditions.

Revealing Art is a stimulating and lucid book about why art is important and the role of the imagination in art, illustrated with colour and black-and-white plates of examples from Michaelangelo to Matisse and from Poussin to Pollock.

Moving images are used as diagnostic tools and locational devices every day in hospitals, clinics and laboratories. But how and when did such issues come to be established and accepted sources of knowledge about the body in medical culture? How are the specialized techniques and codes of these imaging techniques determined, and whose bodies are studied, diagnosed and treated with the help of optical recording devices? "Screening the Body" traces the unusual history of scientific film during the late 19th and early 20th centuries, presenting material that is at once disturbing and engrossing. Lisa Cartwright looks at films like "The Elephant Electrocution". She brings to light eccentric figures in the history of the science film such as William P. Spratling who used Biograph equipment and crews to film epileptic seizures, and Thomas Edison's lab assistants who performed x-ray experiments on their own bodies. Drawing on feminist film theory, cultural studies, the history of film, and the writings of Foucault, Lisa Cartwright illustrates how this scientific cinema was a part of a broader tendency in society toward the technological surveillance, management, and physical transformation of the individual body and the social body. She frequently points out the similarities of scientific film to works of avant-garde cinema, revealing historical ties among the science film, popular media culture and elite modernist art and film practices. Ultimately, Cartwright unveils an area of film culture that has rarely been discussed, but which will leave readers scouring video libraries in search of the films she describes.

In his last years D. H. Lawrence often wrote for newspapers; he needed the money, and clearly enjoyed the work. He also wrote several substantial essays during the same period. This meticulously-edited collection brings together major essays such as Pornography and Obscenity and Lawrence's spirited Introduction to the volume of his Paintings; a group of autobiographical pieces, two of which are published here for the first time; and the articles Lawrence wrote at the invitation of newspaper and magazine editors. There are thirty-nine items in total, thirty-five of them deriving from original manuscripts; all were written between 1926 and Lawrence's death in March 1930. They are ordered chronologically according to the date of composition; each is preceded by an account of the circumstances in which it came to be published. The volume is introduced by a substantial survey of Lawrence's career as a writer responding directly to public interests and concerns.