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University of Oxford (Centre for Brazilian Studies)
The Centre for Brazilian Studies of the University of Oxford held its first conference on
Brazilian Literature in St. Antony's College on 27 May 1999. It brought together most
of the academics in the United Kingdom in the field of Brazilian literature and related
cultural studies.
Professor Else R P Vieira, UFRJ and visiting Research Associate at the Centre working
in the area of comparative literary and cultural studies.
John Gledson, Emeritus Professor of Brazilian Literature of the University of Liverpool
delivered the opening lecture on 'Machado de Assis and Brazilian history' in which he
highlighted ways in which the theory of history and historical sources were used by this
19th century Brazilian novelist, poet, playwright and translator. Apparently small,
insignificant details in Machado's writings, he argued, point to larger themes, revealing,
however, a somewhat fragmented relationship to Brazilian history, references to
historical facts that are usually oblique and an avoidance of certain issues. The writer's
archives and library demonstrate his familiarity with classical historians, the great
historians of the 19th century, anthropologists and philosophers of a negative tradition
such as Schoppenhauer. Yet, history lacks a secure pattern in Machado de Assis which,
Gledson argued by way of conclusion, could be related to the uncertain times in which
he lived. The newspaper O Globo (12-06-1999) featured an article on the conference
under the heading "Machado de Assis e sua ironia começam a derrubar as sérias
muralhas de Oxford".
first panel focused on readings of nineteenth-century Indianism. The first contribution,
'Alencar, slavery and the Indian question', by Dr. David Treece of King's College,
London, revisited the nineteenth-century Indianist movement and nationalist discourse
in relation to the contemporary issue of of black slavery. Dr Treece traced the parallels,
both explicit and implicit, that successive writers drew between these two issues during
the course of the Empire, from José Bonifácio, through Gonçalves Dias and Joaquim
Manuel de Macedo, to Alencar himself. In the context of debates within nineteenth
century political theory and the Brazilian polemics concerning liberty and servitude,
civilization and barbarism, integration or marginalisation of Indian and black, the paper
concluded with a comparative examination of Alencar's Indianist novels O Guarani and
Iracema, and the so-called abolitionist dramas O DemĂ´nio Familiar and MĂŁe: these, it
was argued, could be seen as exemplary of a conservative, "Conciliatory" mythology of
the coloured races' self-sacrifice, voluntary servitude and collaboration in the building
of the nation.
Dr. Jean Andrews, of Goldsmiths' College, London, in her paper 'A prince of the
Goitaca at La Scala in 1870: Antonio Carlos Gomes's opera Il Guarany', opted for an
intersemiotic and intercultural handling of the theme, namely, the adaptation for opera
of Alencar's O Guarani presented in the late nineteenth-century in Europe and in Brazil.
The simplification of the original plot imposed by the demands of operatic convention
and the much reduced capacity of a libretto to convey complex narration led to a
conversion of the implicit and highly ambiguous relationship between the indigenous
hero and the Portuguese heroine in the novel into a full-blown operatic romance which,
unusually for an interracial relationship in late nineteenth-century grand opera, ended
happily. The gap between the indigenous hero and the Portuguese heroine is reduced by
allowing Peri to speak the same sophisticated language as the Portuguese, as opposed
to the pidgin he speaks in the novel. He is treated with greater respect, though not as an
equal, by her father and, in operatic terms, his status as a warrior hero is underlined by
the heroic nature of his music. Stressing that Carlos Gomes' work fell out of favour soon
after the short-lived success of Il Guarany, Andrews hypothesized that the very
conventions of late nineteenth-century opera which enabled Gomes and his librettists to
create a love story with a happy ending between a Brazilian Indian and a Portuguese
heiress in 1870 may, ironically, have denatured the substance of the Alencar novel to
respond to the demands of a European audience used to the safe, generalised and
domesticated exoticism of the opera house.
Cambridge, '"My Mother's Blood Relation": Memórias Póstumas de Brás Cubas or the
dead heart of the family'. Her analysis of Machado de Assis's novel (translated into
English both as Epitaph of a Small Winner, Noonday Press, NY, trans. by William
Grossman, and The Posthumous Memoirs of Brás Cubas, OUP trans. by Gregory
Rabassa) is framed by the issue of motherhood in a "confused" national context
importing liberal ideologies. Her argument raises the problematic associations of
motherhood for Brazilians insofar as it interconnects mother (birth, origin), woman and
Europe (a continent, the origin). The need to reinvent the motherland anew,
compromised by colonial experiences, heightens the ambivalence of dependence and
emancipation from given models. Such a symbology of maternity is shown to run
through the novel, whose protagonist's relation with women questions evolutionary-
Darwinian tenets. VirgĂlia, Brás Cuba's lover, smiles as she aborts what is presumably
his child. The well-known chapter on negatives, epitomized by "I had no children, I did
not not leave to anyone the legacy of our misery", is interpreted as exposing the
Darwinian failure.
Leeds) in their joint contribution, 'Rhetoric and reality: the mulatta in slavery and
freedom', wove literature and history together and stressed the scarcity of scholarly
research on the mulatta. A series of ambivalences and suspicions surrounding the
mulatta were raised: an object of desire that is both celebrated and hated, the possessor
of a beauty perceived both as a source of social ascension and of misery, an actor in a
risky and not consecrated relationship, a concubine whose undecidable status rarely
defines towards marriage, neither free nor a slave in colonial times, a "racial class" in
transition to whiteness and incapable of reaching stability. From another perspective,
the mulatta has become the fantasy of desire of a nation and an object of consumption.
Moving away from such a context, what the contributors have been foregrounding in
their ongoing investigation is the unexploited gendered role of the mulatta as a mother .
Paulo (USP) and Visiting Fellow at the Centre for Brazilian Studies, contributed with
'The question of the mestiço in the work of Euclides da Cunha'. Professor Galvão is
nationally and internationally known for her vast work on this Brazilian writer and the
turn of the century Canudos Rebellion. Her full professorship thesis (1972) was later
published as No Calor da Hora: a guerra de Canudos nos jornais, 4a expedição, which
is a study of the journalistic representaions of the War. She also edited a critical edition,
Os sertões: campanha de Canudos 1902 (São Paulo, Brasiliense, 1985), as well as
CorrespondĂŞncia de Euclides da Cunha, co-edited with Oswaldo Galotti (SĂŁo Paulo,
Edusp, 1997). Her presentation was based on her ongoing research in Oxford which
was later published as Diário de uma expedição (São Paulo, Companhia das Letras,
2000). Points raised were the immense gap between the press coverage of the war at the
time and the book Os Sertões as a war chronicle. In an encyclopedic impulse, the book
subsumes the sciences and knowledge of the time. Euclides da Cunha, a soldier,
narrates history from the point of view of the army which imposed the modernization
project. In the context of the embattlement of three races (Indians, blacks and whites),
the book emerges as a true statement against the half breed; the native Indian, in his
turn, is incapable of understanding the mental complexity of the white man and the
backland characters (sertanejos) are depicted as brave. Euclides can be said to hesitate
between his conscience and the racist theories of the time. By way of conclusion,
Professor GalvĂŁo nevertheless emphasised that all of this weaves into a careful aesthetic
elaboration which grants the book its status as a great work.
Comparative Reading of MacunaĂma from a North Americanist" in which he explored
ways of thinking about race and national identity. He posed an initial question: Why
wasn't Mário de Andrade's classic work, MacunaĂma, written in North America, and in fact
why couldn't it have been written there? To answer that he looked at issues of race and
identity in terms of the themes of transformation and exchange that run through this novel.
The absence in North America or in the British Empire of a recognised place within which
there can be social mobility for people of mixed race and thus a way in which social class
can intermingle with race, he argued, has been addressed by recent discussions of hybridity
(e.g. Homi Bhabha, Robert Young). In MacunaĂma, Mário e Andrade's novel of the
about love and transgression in modern Guyana. It begins with an indigenous unamed
figure who is clearly recognisable as MacunaĂma, used as a generalised trickster figure in
a postcolonial agenda designed to decentre the metropolitan view. An important question
for future thought and discussion is whether MacunaĂma is representative of a national
plenitude, a fecundity of possibilities and a potentiality or of an emptiness, a blank, a
chaos.
Brazilian literature, which, she noted, is expanding at an impressive rate not only in the
UK and the US but also in Portugal, and not least in the rest of Latin America. A
specific question posed was: what can the Oxford Centre for Brazilian Studies do to
stimulate the study of Brazilian literature and related studies? Variously expressed was
light of television, video and Internet developments, a context in which literature can no
onger be seen as a monolithic or a homogeneous enterprise. A major suggestion was
the pursuit of inter- and trans-disciplinarity and the exploration of the interface between
Brazilian literary and cultural/media studies. This enables literature to be approached as
a cultural artefact and as a cultural sign interacting with the visual arts, theatre, music
and so on. It would further establish a bridge between the study of Brazilian literature
and anthropology, history and cultural studies. A thematic broadening would also foster
a welcome comparativist approach. Finally, some participants emphasised the need for
more translations of Brazilian literature in English and the setting up of a regular forum
20080129
Hollywood’s Production of Popular Identities (Paul McDonald, 2000)
Paul McDonald. The Star System:
Introduction: Looking at the Stars
To speak of stardom in
However, the star system is not directed towards producing a uniform category of star: the star system deals in individualism. In
As the star system has become an established feature of
Outside of popular attention to stars, there has developed a whole body of academic work attempting to understand the social and cultural significance of film stardom. This work has combined many perspectives of economics, sociology and psychology (for overviews of this work see Dyer 1998; McDonald 1995 and 1998). During the 1980s and 1990s, the academic field of film studies in
At the stars of Dyer’s book, a distinction is made between stars as a ‘phenomenon of production’ (a part of the economic control of the film industry) and as a ‘phenomenon of consumption’ (the meanings represented by stars to audiences). It is a characteristic of the book and of the research it subsequently influence to priories the latter over the former; when looking at film stars, recent academic study has tended to concentrate on the images of stars without thinking of the industry producing those images. The problem with only following this line of study is to lose sight of where stars come from. As a system,
Chapter One: thinking about the place of stars in the film business as a combination of image, labour and capital. Chapter Two: place of stars in the American theatre and the emergence of the film star. The place of the star in the studio system of the 1930s and 1940s. Chapter Three: The transformation of the star system after the studio era and the place of stars in contemporary
20071101
Glauber Rocha, esse vulcĂŁo (J.C.T. Gomes, 1997)
JoĂŁo Carlos Teixeira Gomes. Glauber Rocha, esse vulcĂŁo. Rio: Nova Fronteira, 1997.
Ela (Rosa Maria Penna, mulher de Glauber) se recorda de que no trabalho de cinema ele era muito exigente e profissional, por possuir uma base teĂłrica de alto nĂvel e ser prátco no seus objetivos, apesar da sofisticação do pensamento. Unia-os aindao mesmo amor pelos museus da Europa, onde se demoravam pelas tardes. Nele ainda a impressionava a consciĂŞncia que tinha de marketing cultural, que sabia administrar os seus contatos com os jornalistas, zelando pela sua imagem de realizador e, em suma, de profissional do cinema. (p.227)
A "EstĂ©tica da Fome" Ă© um ensaio sobre as relações culturais entre os paĂses europeus e o mundo subdesenvolvido, secularmente estabelecidas num clima de opressĂŁo (já denunciado no Brasil, há mais de duzentos anos, pelo poeta-fazendeiro GregĂłrio de Matos e Guerra), opressĂŁo essa que gerou o atraso social, a dependĂŞncia polĂtica e a espoliação econĂ´mica, alĂ©m, naturalmente da desfiguração cultural. A sedimentação da cultura Ă© um trabalho de raĂzes, fundado naquilo que um paĂs pode construir de mais caracterĂstico atravĂ©s da ação de gerações sucessivas, anĂ´nima ou erudita, mas sempre produzidas de dentro para fora. As influĂŞncias externas sĂŁo inevitáveis e nĂŁo devem ser repelidas, sob pena de cair-se no xenofobismo irresponsável, mas sĂł produzem resultados positivos se assimiladas de forma que nĂŁo se revelem desfiguradoras da cultura nativa. (p.270)
Glauber disse: Enquanto a AmĂ©rica Latina lamenta suas misĂ©rias gerais, o interlocutor estrangeiro cultiva o sabor dessa misĂ©ria, nĂŁo como sintoma trágico, mas apenas como dado formal do seu campo de interesse. Nem o latino comunica sua verdadeira misĂ©ria ao homem civilizado, nem o homem civilizado compreende verdadeira mente a misĂ©ria do latino. Para o observador europeu, os processos de criação artĂstica do mundo subdesenvolvido sĂł interessam na medida que satisfazem sua nostalgia do primitivismo; e este primitivismo se apresenta hĂbrido, disfarçado sob tardias heranças do mundo civilizado, mal compreendidas porque impostas pelo condicionamento colonialista. Este condicionamento econĂ´mico e polĂtico nos levou ao raquitismo filosĂłfico e Ă impotĂŞncia, que, Ă s vezes inconsciente, Ă s vezes nĂŁo, geram no primeiro caso a esterilidade e, no segundo, a histeria. A esterilidade: aquelas obras encontradas fartamente em nossas artes, onde o autor se castra em exercĂcios formais que, todavia nĂŁo atingem a plena prossessĂŁo das suas formas. O sonho frustrado de universalização: artistas que nĂŁo despertam o ideal estĂ©tico adolescente. (Paulo CĂ©sar Saraceni. Por dentro do Cinema Novo: uma viagem. Rio, Nova Fronteira,1993, p.180-181) (p.271)
Numa das mais radicais colocações dialĂ©ticas que tanto caracterizava o seu pensamento, formulou os conceitos de "cinema original" e "cinema de imitação" para defender a articulação do Cinema Novo em torno de um projeto uniforme de rejeição do cinema industrial de Hollywood, a ele contrapondo a idĂ©ia, sempre trabalhada, de "cinema de autor", para que pudesse refletir a nossa realidade de paĂs subdesenvolvido sem qualquer artifĂfio ou embelezamento. NĂŁo queria que o espectador nacional fosse ao cinema para ver filmes brasileiros "Ă americana", ou seja, filmes que, cedendo Ă cultura de dominação, espelhassem as tĂ©cnicas e os procedimentos tĂpicos de Hollywood, condicionadores de uma falsa visĂŁo de mundo em escal internacional e comprometidos com objetivos de entretenimento alienado e lucro fácil, pela exploração sistemática da violĂŞncia, da ilusĂŁo e do sexo. "Monstro produtor de ilusĂŁo" - assim qualificou o cinema de Hollywood, de tal forma poderoso que, diante dele, todos se curvavam, cedendo-lhe Ă influĂŞncia. (p.365)
A Ăşnica violĂŞncia admissĂvel para Glauber, pois, era a libertadora, ou seja, aquela que pode ajudar as vĂtimas pela denĂşncia da ação dos seus opressores. Nesse sentido Ă© que se legitimava a exposição das cenas de violĂŞncia, a fim de que o povo adquirisse a consciĂŞncia das suas mĂşltiplas formas de manifestação e aprendesse a repudiá-la. [...] Conscientemente, Glauber opunha essa estĂ©tica do degradante aos "filmes de gente rica, em casas bonitas, andando em automĂłveis de luxo: filmes alegres, cĂ´micos, rápidos, sem mensagem, e objetivos puramente industriais".
A exibição da violência, pois, não deveria ser um fim em si mesmo, como sucede nos filmes comerciais, mas sim um elemento de conscientização, para favorecer uma atitude de condenação e refletido repúdio. Se o artista tem a consciência plena dos seus meios, não há motivos para que rejeite os temas ditos feios ou contrangerdores, como a própria fome, porque não é a substância que desvela a arte, mas a forma que a envolve. (p.274) {Na arte o que importa é a forma}
Glauber sĂł compreendia o papel do cinema no terceiro mundo como alavanca contra a opressĂŁo. Conduzir essa luta era função dos artistas, porque ele nĂŁo acreditava que, no mundo capitalista e sobretudo nas áreas subdesenvolvidas, os polĂticos e os tecnocratas viessem jamais a resolver os problemas da sociedade. (p.375)
O processo de montagem não goza de unanimidade entre os grandes diretores e o grau do papel que assume para eles muito depende das suas vinculações estéticas. Roberto Rosellini, por exemplo, o grande iniciador do neo-realismo italiano, autor de obras fundamentais na história do cinema pós-guerra, como Roma, cidade abarta e Paisá, que influenciaram gerações de cineastas no mundo inteiro, em suas memórias qualifica a montagem como "o momento do embuste e da má-fé", porque transformava os montadores nos "verdadeiros donos do filme" (p.397)
O que ele (Glauber) queria era a criação de "uma linguagem alternativa", nĂŁo dependente do passado, e que representasse "a linguagem polĂtica mais avançada do Terceiro Mundo", expressando a realidade do Brasil e de todos os paĂses que emergiram da dominação coloniaalista com as seqĂĽelas conhecidas. (p.398)
A insistĂŞncia com que ele defendia um projeto nacional, sua permanente pregação para que criássemos internamente um sistema de distribuição e exibição capaz de enfrentar e competir com aquele que nos impunha o exterior, a resistĂŞncia que oferecia aos caminhos do cinema de Hollywood, tudo isto poderia criar a idĂ©ia de que Glauber era um incurável xenĂłfobo, um ideĂłlogo do nacionalismo chauvinista intransigente e, sobretudo, um rancoroso inimigo dos Estados Unidos. Tal imagem, porĂ©m, nĂŁo corresponderia Ă verdade. ... Na entrevista concedida ao jornalista Flávio Costa, da Manchete, ao ser indagado sobre Como sĂŁo os Estados Unidos, respondia, em pleno clima da guerra do VietnĂŁ: Um grande paĂs, com uma força enorme e que vive uma crise que, vencida, poderá abrir novos caminhos para a humanidade, sem guerra (...). O imperialismo está sendo posto em questĂŁo dentro dos EUA. E isto Ă© mais importante do que se pode pensar Ă primeira vista. O povo americano Ă© um povo extraordinário, porĂ©m viciado por uma máquina de informação que o aliena do resto do mundo. (p.381)
20070823
Stars (Richard Dyer, 1979)
Richard Dyer. Stars. London: BFI Publishing, 1998.
Within film studies, reasons for studying stars have largely come from two rather different concerns that may broadly be characterised as the sociological and the semiotical.
Sociological: centres on the stars as a social phenomenon and as being an aspect of film's 'industrial' nature. Films are only of significance in so far they have stars in them.
Semiotic: stars are only of significance because they are in films and therefore are part of the way films signify.
Dyer's book assumes that, on one hand, the sociological concern can only make headway when informed by a proper engagement with the semiotics of the stars (their signification in media texts). This is because, sociologically speaking, stars do not exist outside the media texts, therefore it is the media texts that have to be studied with due regard of the specificities of what they are (significations).
Equally, on the other hand, the semiotic concern has to be informed by the sociological, partly because it is on the basis of proper theorisation of an object of study, that one is able of to pose questions of it. Semiotics has to make assumptions about hos texts work before proceeding to analyse them. Granted that texts are social facts, it follows that textual assumptions must be grounded on sociological facts. You need to know what kind of thing a text is in society in order to know what kinds of question can be legitimately proposed, what kind of knowledge you can reasonably expect it to yield.
20070724
Horror Movies (Carlos Clarens, 1967)
"Horror, like beauty, may reside in the eye of the beholder; or in the attitude of the director towards his material. Most film-makers have, at one stage or another of their careers, felt the challenge to instil that elusive feeling of terror in the audience. There are unforgettable horror moments in non-horror films" (p.14).
"As we tend to pigeonhole the enormous mass of films laid at our disposal through seventy years of industry, we apply to movies the strict rules and superficial restrictions of genre headings, when horror films (and Westerns) at best obey no rules and transcend the limitations we impose on them. Let me the first to realise that such staggering number of movies can wreak havoc on any serious attempt at theorising. Most movies have their own voice, and none of them was created to support a single aesthetic or theory" (p.15)
The Wizard on Montreuil Paris, 1815-1913: Chapter about George Méliès and who the fantastic film 'accidentally' came into being. Méliès did not think the new invention of the motion picture (Lumière Cinématographe and Thomas Edison Kinetoscope) should merely record reality in a journalistic way. He thought it excluded poetry, fantasy and unbridled imagination therefore he set up a studio in Montreuil where he created his films Battleship Maine (1896), The Haunted Cave (1898), The One Man Band (1900), Trip to the Moon (1902), The Conquest of the Pole (1912), among others. In order to create his illusions, Méliès resorted to double and multiple exposure of the film, the gradual disappearance of the image (fade) and the slow transition from one image to another (dissolve), plus trap doors and other resources used by magicians and well as a great deal of pantomime trickery and stage-based acts. Clarens chapter is an homage to Méliès and his dream factory.
20070715
Recreational Terror (Pinedo, 1997)
20070701
The Monster Show (David J. Skal, 1994)
20070521
The Monstrous-Feminine (Barbara Creed, 1993)

20070516
Rational Fears (Mark Jancovich,1996 )

PREFACE
Conclusion
"unlike many other areas of 1950s popular culture, 1950s horror has occupied a central place within the development of 'cult' ot 'trash' audiences, an important and well-established section of contemporary popular culture" (p.304) .
20070420
The Horror Genre, from Beelzebub to Blair Witch (Paul Wells, 2000)
Paul Wells. The Horror Genre, from Beelzebub to Blair Witch. Wallflower, London, 2000.Introduction
"Like many people interested in the horror film, or indeed comedy, its allied genre, I view its analysis as something which should not strain too far after meaning for fear it might undermine the sensation created" (p.1)
"Thankfully the effects of horror or humour initially by-pass the inhibitions and intrusions of the intellect so the thrill can precede the theory" (p.1)
In the first section, Configuring the Monster, Paul Wells explores the key themes of the genre, the main issues and debates raised, and engage with approaches and theories that have been applied to horrors texts. The theoretical background is presented via the modernist context within which early horror texts evolved. Review of fundamental preoccupations, especially through psychoanalytical and gendered readings. Also includes case study that reviews indicative patterns of readings of horror films across different age groups (audience and reception studies). In the second section, Consensus and Constrain 1919-1960, and in the final section, Chaos and Collapse 1960-2000, he addresses the chronological evolution of the horror film, looking at how it reflected and commented upon particular historical periods. His analysis considers myth and gothic literature in early cinematic representations of horror. Post-war developments are reviewed in terms of revisiting this formulae. Contemporary gore and pathological states are considered through a discussion of auteurs reworking the genre field's of operation and its constant recycle.
Configuring the Monster
"The history of the horror film is essentially the history of anxiety in the twentieth century." (p.3)
"As the nineteenth century passed into the twentieth, this prevailing moral and ethical tension between the individual and the socio-political order was profoundly affected by some of the most significant shifts in social and cultural life. This effectively reconfigured the notion of evil in the horror text -soon to be a cinematic as well as a literary form - in a way that moved beyond the issues of fantasy and ideology and into the realms of material existence and overt challenge to established cultural value systems." (p.3)
* 19th century transformative discourses = political and economical theories, Karl Marx and The Communist Manifesto (1848). "Arguably the horror film embraces the leftist critique of this process, consistently invoking the 'monster' of the alienated and disadvantaged as the key protagonist against the bourgeois middle-class orthodoxies" (p.4)
"the genre has been used to explore modes of social 'revolution' in which naturalised ideas about bourgeois orthodoxies are transgressed, exposing how the 'working class' in Weimar's Germany, Depression-era America, Franco's Spain and so on have been oppressed and socially manipulated to maintain those advantaged by the late capitalism status quo." (p.4)
* 'Natural selection' as transformative discourse= Darwin's On the Origins of the Species (1859). Mankind artificially imposes itself upon the conditions of material existence, while nature changes the world slowly. Jekyll and Hyde, Birds would be films that address the 'revenge of nature'. Nature pitted against humankind's will to power.
* Friedrich Nietzsche's = " will to power" , humanity subject to degeneracy and spiritual crisis. He insists that humankind id nihilistic and Christian piety is the worst evil of all (as it does not come into contact with the reality of the world). Collapse of spiritual values echo in horror films.
* Sigmund Freud = emergence of psychoanalysis, structures of consciousness revealed at primal level. In the horror film this is usually linked to madness, dysfunctionality and psychosis, the monsters of the mind.
"Horror films have been analysed within a range of theoretical paradigms and discourses. The genre has been addressed in the light of its theological and moral perspectives, its sociological and cultural dimensions, its politics of representation, and its configuration as a set of texts particularly conducive to psychoanalytical approaches. Problematically, the horror genre has no clearly defined boundaries, and overlaps with aspects of science fiction and fantasy genres. Also, in recent years, many of its generic elements have been absorbed into the mainstream thriller. Arguably, there is no great benefit in attempting to disentangle these generic perspectives. It may be more constructive to proceed on the basis of addressing the distinctive elements of any on text within a particular historical moment.
It may be noted that the horror genre is predominantly concerned with death and the impacts and effects of the past, while science fiction is future-oriented, engaging with how human social existence could develop and dealing with humankind's predilection for self-destruction. While science fiction is potentially utopian (although often critically grounded), the horror genre is almost entirely dystopic, and often nihilistic in outlook". (p.7)
Devils and Doubles (sub-chapter) "Psychoanalyst Otto Rank wrote 'Der Doppelgänger' in 1914, suggesting that the double was essentially the way in which the soul or ego sought to preserve itself, ensuring against destruction by replicating itself. Bound up with a narcissistic self-love which is self-protecting and strongly predicated to the denial of death, this act of 'doubling' can work in reverse. Once the double is cleaved or threatened, it heightens the degree by which mortality and the signs of death are enhanced. It is of no surprise, therefore, to see the prominence of the motive in the horror text". (p.9)
On Ann Radcliffe opinion about Horror vs Terror = "Radcliffe's definition is enabling in the sense that texts maybe viewed in the light of 'terror' and its potential radicalism, or 'horror' and its creation of a seemingly reactionary position". (p.11)
Horror Films in Content (sub-chapter) "Arguably, if the horror text is to be culturally and historically pertinent, film-makers have to engage with an aesthetic space free from the moral and ethical obligations of the social paradigm in which they live - only then they can comment upon, and critique the conditions of, the material world. If the social concern about violence in the horror film is to be properly addressed, for example, it is crucial that such issues be treated responsibly, looking at violence as a reality and not the tilitatory experiences of the adventure spectacles which passes uncensored into cinemas every week. The horror text does this in a variety of ways, and this is why, as a genre, it remains subversive and challenging because it foregrounds, through the comparative safety of fiction, the very agendas humankind needs to address in 'fact'. While it remains contentious, and subject to considerable opposition, the horror film makes us confront our complex 'darker' agendas, and in this it serves an important function as progressive and sometimes radical genre, in the face of reactionary stances". (p.24)
"Although seemingly nihilistic in outlook, the horror film can continually remind an audience of the things that about which it should neither be complacent nor accepting". (p.35)