國立高雄大學圖資館 |

Animality and horror cinemacreaturely fear on film /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Animality and horror cinemaedited by Peter Sands, Mo O' Neill, Samantha Hind.
其他題名:	creaturely fear on film /
其他作者:	Sands, Peter.
出版者:	Cham :Springer Nature Switzerland :2025.
面頁冊數:	xv, 266 p. :ill. (some col.), digital ;24 cm.
Contained By:	Springer Nature eBook
標題:	Horror filmsHistory and criticism.
電子資源:	https://doi.org/10.1007/978-3-031-87294-5
ISBN:	9783031872945$q(electronic bk.)

Animality and horror cinemacreaturely fear on film /
Animality and horror cinemacreaturely fear on film /[electronic resource] :edited by Peter Sands, Mo O' Neill, Samantha Hind. - Cham :Springer Nature Switzerland :2025. - xv, 266 p. :ill. (some col.), digital ;24 cm. - Palgrave studies in animals and literature,2634-6346. - Palgrave studies in animals and literature..

Chapter 1: Creaturely Fear: An Introduction -- Part 1: Animal Traces -- Chapter 2: Surrealism and Creaturely Holocaust Killing in Juraj Herz's The Cremator -- Chapter 3: Jordan Peele's Animals: Zoological Horror, Afropessimist Allegory and the Alien Superstar -- Chapter 4: The Animal-Image: On the Uses of Animals in Claire Denis' Horror Films -- Part 2: The Multi-Sensorial Animal -- Chapter 5: A Horror Multiplied by the Eyes of Every House Fly: Compound Misconceptions and Prejudices on Filmic Insects -- Chapter 6: Killer Wail: Colouring Nonhuman Trauma in Orca: The Killer Whale -- Chapter 7: Sound, Silence, Horror, and the Hare -- Part 3: True Story Monstrosities -- Chapter 8: Animal Agency and Animal Sovereignties in Roar -- Chapter 9: Living with Saltwater Crocodiles: Respectful and Reverential Eco-Fear in Dark Age -- Chapter 10: "The Touch of his Hairy Hand Offended You": The Epistemological Indeterminacy of Ted Kotcheff's Wake in Fright -- Part 4: Meat, Sacrifice and Sympathy -- Chapter 11: Made in the Harming: Julia Ducournau's Raw and the Cutting Continuities of Animal Montage -- Chapter 12: Flesh & Negation: Vegan Aesthetics and Sympathetic Action in David Lynch's Eraserhead.

Animality and Horror Cinema provides a wide-ranging overview of the role played by animals in the genre of horror cinema. Across four sections that unite affective and generic modes of horror with animals, animality, and the discourse of species, the volume demonstrates the multivalent operation of animality in transnational cinemas that look beyond the trope of monstrous adversity associated with the creature feature. With chapters focusing on the extrusion of animals from horror narratives, the multisensorial dimensions of animal horror, the intrusion of documentary violence, and the horrific contiguity of human and nonhuman flesh, it argues for the concept of creaturely fear as a lens through which to read horror's blurring of the species barrier. The collection appeals to those interested in the intersection of animal and film studies with memory studies, afropessimism and critical race theory, posthumanism, biopolitics, ecocriticism, queer theory and vegan theory. Peter Sands is a Fellow at the Leverhulme Centre for Anthropocene Biodiversity and the Department of English and Related Literature at the University of York, UK. His research focuses on ecological thinking and human-animal relationships in Cold War technoculture and in contemporary speculative fiction. Mo O'Neill has recently completed a PhD at the University of Sheffield. Their research concerns the history and philosophy of animal advocacy, with a particular focus on the Victorian and Edwardian period, but they are also interested in exploring the mutation of these logics of human-animal relations within the medium of contemporary cinema. Their work is published in the Palgrave volume Animal Satire, Route 57, and Green Letters, with upcoming publications in Victoriographies and the Journal of Literature and Science. Samantha Hind has a PhD from the University of Sheffield. Her forthcoming monograph, Speculative Flesh Ecologies: Flesh, Indistinction, and Speculative Fiction, explores flesh as a facilitator for human and nonhuman indistinction in twenty-first century speculative fiction. More broadly, she is interested in representations of nonhumans in speculative fiction literature, film, television, and art, and she is currently working on a project about conservation and speculative fiction and a chapter about virtual reality and farmed animals. Her work has been published in Interrogating Boundaries of the Nonhuman: Literature, Climate Change, and Environmental Crises (Lexington, 2022), Ecozon@ (15.1, 2024), and Clarkesworld science fiction and fantasy magazine.

ISBN: 9783031872945$q(electronic bk.)

Standard No.: 10.1007/978-3-031-87294-5doiSubjects--Topical Terms:

326342
Horror films
--History and criticism.

LC Class. No.: PN1995.9.H6

Dewey Class. No.: 791.436164

Animality and horror cinemacreaturely fear on film /
LDR:04889nmm a2200337 a 4500 001 686467
003 DE-He213
005 20250815130201.0
006 m d
007 cr nn 008maaau
008 260213s2025 sz s 0 eng d
020 $a 9783031872945$q(electronic bk.)
020 $a 9783031872938$q(paper)
024 7 $a 10.1007/978-3-031-87294-5 $2 doi
035 $a 978-3-031-87294-5
040 $a GP $c GP
041 0 $a eng
050 4 $a PN1995.9.H6
072 7 $a APF $2 bicssc
072 7 $a PER004000 $2 bisacsh
072 7 $a ATF $2 thema
082 0 4 $a 791.436164 $2 23
090 $a PN1995.9.H6 $b A598 2025
245 0 0 $a Animality and horror cinema $h [electronic resource] : $b creaturely fear on film / $c edited by Peter Sands, Mo O' Neill, Samantha Hind.
260 $a Cham : $b Springer Nature Switzerland : $b Imprint: Palgrave Macmillan, $c 2025.
300 $a xv, 266 p. : $b ill. (some col.), digital ; $c 24 cm.
490 1 $a Palgrave studies in animals and literature, $x 2634-6346
505 0 $a Chapter 1: Creaturely Fear: An Introduction -- Part 1: Animal Traces -- Chapter 2: Surrealism and Creaturely Holocaust Killing in Juraj Herz's The Cremator -- Chapter 3: Jordan Peele's Animals: Zoological Horror, Afropessimist Allegory and the Alien Superstar -- Chapter 4: The Animal-Image: On the Uses of Animals in Claire Denis' Horror Films -- Part 2: The Multi-Sensorial Animal -- Chapter 5: A Horror Multiplied by the Eyes of Every House Fly: Compound Misconceptions and Prejudices on Filmic Insects -- Chapter 6: Killer Wail: Colouring Nonhuman Trauma in Orca: The Killer Whale -- Chapter 7: Sound, Silence, Horror, and the Hare -- Part 3: True Story Monstrosities -- Chapter 8: Animal Agency and Animal Sovereignties in Roar -- Chapter 9: Living with Saltwater Crocodiles: Respectful and Reverential Eco-Fear in Dark Age -- Chapter 10: "The Touch of his Hairy Hand Offended You": The Epistemological Indeterminacy of Ted Kotcheff's Wake in Fright -- Part 4: Meat, Sacrifice and Sympathy -- Chapter 11: Made in the Harming: Julia Ducournau's Raw and the Cutting Continuities of Animal Montage -- Chapter 12: Flesh & Negation: Vegan Aesthetics and Sympathetic Action in David Lynch's Eraserhead.
520 $a Animality and Horror Cinema provides a wide-ranging overview of the role played by animals in the genre of horror cinema. Across four sections that unite affective and generic modes of horror with animals, animality, and the discourse of species, the volume demonstrates the multivalent operation of animality in transnational cinemas that look beyond the trope of monstrous adversity associated with the creature feature. With chapters focusing on the extrusion of animals from horror narratives, the multisensorial dimensions of animal horror, the intrusion of documentary violence, and the horrific contiguity of human and nonhuman flesh, it argues for the concept of creaturely fear as a lens through which to read horror's blurring of the species barrier. The collection appeals to those interested in the intersection of animal and film studies with memory studies, afropessimism and critical race theory, posthumanism, biopolitics, ecocriticism, queer theory and vegan theory. Peter Sands is a Fellow at the Leverhulme Centre for Anthropocene Biodiversity and the Department of English and Related Literature at the University of York, UK. His research focuses on ecological thinking and human-animal relationships in Cold War technoculture and in contemporary speculative fiction. Mo O'Neill has recently completed a PhD at the University of Sheffield. Their research concerns the history and philosophy of animal advocacy, with a particular focus on the Victorian and Edwardian period, but they are also interested in exploring the mutation of these logics of human-animal relations within the medium of contemporary cinema. Their work is published in the Palgrave volume Animal Satire, Route 57, and Green Letters, with upcoming publications in Victoriographies and the Journal of Literature and Science. Samantha Hind has a PhD from the University of Sheffield. Her forthcoming monograph, Speculative Flesh Ecologies: Flesh, Indistinction, and Speculative Fiction, explores flesh as a facilitator for human and nonhuman indistinction in twenty-first century speculative fiction. More broadly, she is interested in representations of nonhumans in speculative fiction literature, film, television, and art, and she is currently working on a project about conservation and speculative fiction and a chapter about virtual reality and farmed animals. Her work has been published in Interrogating Boundaries of the Nonhuman: Literature, Climate Change, and Environmental Crises (Lexington, 2022), Ecozon@ (15.1, 2024), and Clarkesworld science fiction and fantasy magazine.
650 0 $a Horror films $x History and criticism. $3 326342
650 0 $a Animals in motion pictures. $3 481462
650 1 4 $a Film Studies. $3 913247
650 2 4 $a Animal Science. $3 911849
700 1 $a Sands, Peter. $3 1000720
700 1 $a O' Neill, Mo. $3 1000721
700 1 $a Hind, Samantha. $3 1000722
710 2 $a SpringerLink (Online service) $3 273601
773 0 $t Springer Nature eBook
830 0 $a Palgrave studies in animals and literature. $3 758674
856 4 0 $u https://doi.org/10.1007/978-3-031-87294-5
950 $a Literature, Cultural and Media Studies (SpringerNature-41173)