How does the horror in film relate to the horror we experience in everyday life? This is one of the questions addressed in this examination of the genre of horror film. The author argues that horror films today have broken with the tradition of the genre to embrace far more violent imagery, images that are in keeping with the escalating violence in society. By examining the horror film, its history and its current trends, the author hopes to further our understanding of the meaning of the genre in today's culture and our fascination with violence.

The horrors of the Nazi regime and the Holocaust still present some of the most disturbing questions in modern history: Why did Hitler's party appeal to millions of Germans, and how entrenched was anti-Semitism among the population? How could anyone claim, after the war, that the genocide of Europe's Jews was a secret? Did ordinary non-Jewish Germans live in fear of the Nazi state? In this unprecedented firsthand analysis of daily life as experienced in the Third Reich, What We Knew offers answers to these most important questions. Combining the expertise of Eric A. Johnson, an American historian, and Karl-Heinz Reuband, a German sociologist, What We Knew is the most startling oral history yet of everyday life in the Third Reich.

Readers interested in Arab studies, Detroit culture and history, transnational politics, and the changing dynamics of race and ethnicity in America will enjoy the personal reflection and analytical insight of Arab Detroit 9/11.

'Fear' in the twenty-first century has greater currency in western societies than ever before. Through scares ranging from cot death, juvenile crime, internet porn, asylum seekers, dirty bombs and avian flu, we are bombarded with messages about emerging risks. This book takes stock of a range of issues of 'fear' and presents new theoretical arguments and research findings that cover topics as diverse as the war on terror, the immigration crisis, stranger danger, global disease epidemics and sectarian violence. This book charts the association of fear discourses with particular spaces, times, social identities and sets of geopolitical relations. It examines the ways in which fear may be manufactured and manipulated for political purposes, sometimes becoming a tool of repression, and relates fear to political, economic and social marginalization at different scales. Furthermore, it highlights the importance and sometimes unpredictability of everyday lived experiences of fear - the many ways in which people recognize, make sense of and manage fear; the extent of resistance to fear; the relation of fear and hope in everyday life; and the role of emotions in galvanizing political and social action and change.

"Combines the otherworldliness of Jeff VanderMeer’s “Annihilation,” the menacing irony of Shirley Jackson and the cold feminist fury of Margaret Atwood" --The New York Times Book Review Named a Fall Read by The Boston Globe and the Chicago Tribune The mundane becomes sinister in a disquieting story collection from the author of The Grip of It In Jac Jemc’s dislocating second story collection, False Bingo, we watch as sinister forces—some supernatural, some of this earth, some real and some not—work their ways into the mundanity of everyday life. In “Strange Loop,” an outcast attempting to escape an unnamed mistake spends his days taxiderming animals, while in “Delivery,” a family watches as their dementia-addled, basement-dwelling father succumbs to an online shopping addiction. “Don’t Let’s” finds a woman, recently freed from an abusive relationship, living in an isolated vacation home in the South that might be haunted by breath-stealing ghosts. Fueled by paranoia and visceral suspense, and crafted with masterful restraint, these seventeen stories explore what happens when our fears cross over into the real, if only for a fleeting moment. Identities are stolen, alternate universes are revealed, and innocence is lost as the consequences of minor, seemingly harmless decisions erupt to sabotage a false sense of stability. “This is not a morality tale about the goodness of one character triumphing over the bad of another,” the sadistic narrator of “Pastoral” announces. Rather, False Bingo is a collection of realist fables exploring how conflicting moralities can coexist: the good, the bad, the indecipherable.

What do horror films reveal about social difference in the everyday world? Criticism of the genre often relies on a dichotomy between monstrosity and normality, in which unearthly creatures and deranged killers are metaphors for society’s fear of the “others” that threaten the “normal.” The monstrous other might represent women, Jews, or Blacks, as well as Indigenous, queer, poor, elderly, or disabled people. The horror film’s depiction of such minorities can be sympathetic to their exclusion or complicit in their oppression, but ultimately, these images are understood to stand in for the others that the majority dreads and marginalizes. Adam Lowenstein offers a new account of horror and why it matters for understanding social otherness. He argues that horror films reveal how the category of the other is not fixed. Instead, the genre captures ongoing metamorphoses across “normal” self and “monstrous” other. This “transformative otherness” confronts viewers with the other’s experience—and challenges us to recognize that we are all vulnerable to becoming or being seen as the other. Instead of settling into comforting certainties regarding monstrosity and normality, horror exposes the ongoing struggle to acknowledge self and other as fundamentally intertwined. Horror Film and Otherness features new interpretations of landmark films by directors including Tobe Hooper, George A. Romero, John Carpenter, David Cronenberg, Stephanie Rothman, Jennifer Kent, Marina de Van, and Jordan Peele. Through close analysis of their engagement with different forms of otherness, this book provides new perspectives on horror’s significance for culture, politics, and art.

In Recreational Terror, Isabel Cristina Pinedo analyzes how the contemporary horror film produces recreational terror as a pleasurable encounter with violence and danger for female spectators. She challenges the conventional wisdom that violent horror films can only degrade women and incite violence, and contends instead that the contemporary horror film speaks to the cultural need to express rage and terror in the midst of social upheaval.