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03691aam a2200457 i 4500 001 29E7B31480FD11EDBDE4B17F33ECA4DB 003 SILO 005 20221221010031 008 210609t20212021enka b 001 0 eng c 010 $a 2020948779 020 $a 0198755562 020 $a 9780198755562 035 $a (OCoLC)1255569345 040 $a KEI $b eng $e rda $c KEI $d OCLCO $d UKMGB $d YDX $d OCLCO $d OCLCF $d UAB $d OCLCO $d EAU $d CNWPU $d OCL $d BBW $d OCLCO $d SILO 042 $a pcc 050 14 $a PN56.H6 $b J66 2021 050 4 $a PN56.H6 J663 2021 082 14 $a 809.9164 $2 23 100 1 $a Jones, Darryl, $d 1967- $e author. 240 10 $a Sleeping with the lights on 245 10 $a Horror : $b a very short introduction / $c Darryl Jones. 264 1 $a Oxford, United Kingdom : $b Oxford University Press, $c 2021. 300 $a xx, 143 pages : $b illustrations ; $c 18 cm. 490 1 $a Very short introductions ; $v 676 500 $a First published in hardback as "Sleeping with the lights on" in 2018. 504 $a Includes bibliographical references (pages 127-132) and index. 505 00 $t Science and horror -- $t Occult and the supernatural -- $t Horror and the body -- $t Horror and the mind -- $t Science and horror -- $g Afterword: horror since the millennium. 520 $a Four o'clock in the morning, and the lights are on and still there's no way we're going to sleep, not after the film we just saw. The book we just read. Fear is one of the most primal human emotions, and one of the hardest to reason with and dispel. So why do we scare ourselves? It seems almost mad that we would frighten ourselves for fun, and yet there are thousands of books, films, games, and other forms of entertainment designed to do exactly that. As Darryl Jones shows, the horror genre is huge. Ranging from vampires, ghosts, and werewolves to mad scientists, Satanists, and deranged serial killers, the cathartic release of scaring ourselves has made its appearance in everything from Shakespearean tragedies to internet memes. Exploring the key tropes of the genre, including its monsters, its psychological chills, and its love affair with the macabre, this Very Short Introduction discusses why horror stories disturb us, and how society responds to literary and film representations of the gruesome and taboo. Should the enjoyment of horror be regarded with suspicion? Are there different levels of the horrific, and should we distinguish between the commonly reviled carnage of contemporary torture porn and the culturally acceptable bloodbaths of ancient Greek tragedies? Analysing the way in which horror manifests multiple personalities, and has been used throughout history to articulate the fears and taboos of the current generation, Darryl Jones considers the continuing evolution of the genre today. As horror is mass marketed to mainstream society in the form of romantic vampires and blockbuster hits, it also continues to maintain its former shadowy presence on the edges of respectability, as banned films and violent internet phenomena push us to question both our own preconceptions and the terrifying capacity of human nature. 650 0 $a Horror in literature. 650 0 $a Horror plays $x History and criticism. 650 0 $a Horror films $x History and criticism. 650 0 $a Horror tales $x History and criticism. 650 0 $a Horror in mass media. 650 0 $a Gothic fiction (Literary genre) 650 0 $a Gothic poetry (Literary genre) 830 0 $a Very short introductions ; $v 676. 941 $a 2 952 $l PLAX964 $d 20230718100329.0 952 $l PNAX964 $d 20221221010201.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=29E7B31480FD11EDBDE4B17F33ECA4DB 994 $a Z0 $b IX2Initiate Another SILO Locator Search