This article argues that the portrayal of the occult in British horror films reflected contemporary realities of gender, class, race, colonialism and modernity as post-war Britain dealt with the end of empire and profound social changes
Horror films offer the pleasure of the intended affects among which we can identify a sense of suspense, a sense of mystery, and a sense of horror
Few movies in the history of cinema have been as enigmatic and thought-provoking as Kubrick’s horror masterpiece ‘The Shining’ (1980)
Victorian culture is often lampooned for its obstinate, reckless progressivism, its racist insistence on the benignity of Western culture, but there is apocalyptic Gothic aplenty to be found in its cultural artefacts
This article will examine the monster which lies at the foundation of the Gothic, horror genre: the monstrous house, or the haunted house
Philosophical work on horror has been predominantly focused on horror films, though little of what has been written on horror is medium specific
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