This volume explores the complex horizon of landscapes in horror film culture to better understand the use that the genre makes of settings, locations, spaces, and places, be they physical, imagined, or altogether imaginary. In The Philosophy of Horror, Noël Carroll discusses the “geography” of horror as often situating the filmic genre in liminal spaces as a means to displace the narrative away from commonly accepted social structures: this use of space is meant to trigger the audience’s innate fear of the unknown. This notion recalls Freud’s theorization of the uncanny, as it is centered on recognizable locations outside of the Lacanian symbolic order. In some instances, a location may act as one of the describing characteristics of evil itself: In A Nightmare on Elm Street teenagers fall asleep only to be dragged from their bedrooms into Freddy Krueger’s labyrinthine lair, an inescapable boiler room that enhances Freddie’s powers and makes him invincible. In other scenarios, the action may take place in a distant, little-known country to isolate characters (Roth’s Hostel films), or as a way to mythicize the very origin of evil (Bava’s Black Sunday). Finally, anxieties related to the encroaching presence of technology in our lives may give rise to postmodern narratives of loneliness and disconnect at the crossing between virtual and real places: in Kurosawa’s Pulse, the internet acts as a gateway between the living and spirit worlds, creating an oneiric realm where the living vanish and ghosts move to replace them. This suggestive topic begs to be further investigated; this volume represents a crucial addition to the scholarship on horror film culture by adopting a transnational, comparative approach to the analysis of formal and narrative concerns specific to the genre by considering some of the most popular titles in horror film culture alongside lesser-known works for which this anthology represents the first piece of relevant scholarship.

Horror films revel in taking viewers into shadowy places where the evil resides, whether it is a house, a graveyard or a dark forest. These mysterious spaces foment the terror at the heart of horror movies, empowering the ghastly creatures that emerge to kill and torment. With Dark Places, Barry Curtis leads us deep inside these haunted spaces to explore them – and the monstrous antagonists who dwell there. In this wide-ranging and compelling study, Curtis demonstrates how the claustrophobic interiors of haunted spaces in films connect to the ‘dark places’ of the human psyche. He examines diverse topics such as the special effects – ranging from crude to state-of-the-art – used in movies to evoke supernatural creatures; the structures, projections and architecture of horror movie sets; and ghosts as symbols of loss, amnesia, injustice and vengeance. Dark Places also examines the reconfiguration of the haunted house in film as a motel, an apartment, a road or a spaceship, and how these re-imagined spaces thematically connect to Gothic fictions. Curtis draws his examples from numerous iconic films – including Nosferatu, Psycho, The Texas Chainsaw Massacre and The Shining – as well as lesser-known international works, which allow him to consider different cultural ideas of ‘haunting’. Japanese horror films and their Hollywood remakes – such as Ringu and The Ring, or Juon and The Grudge – come under particular scrutiny, as he explores Japanese cinema’s preoccupation with malevolent forces from the past. Whether you love the splatter of blood or prefer to hide under the couch, Dark Places cuts to the heart of why we are drawn to carnage.

New York Times bestselling adult author of The Bear and the Nightingale makes her middle grade debut with a creepy, spellbinding ghost story destined to become a classic. Now in paperback. After suffering a tragic loss, eleven-year-old Ollie who only finds solace in books discovers a chilling ghost story about a girl named Beth, the two brothers who loved her, and a peculiar deal made with "the smiling man"—a sinister specter who grants your most tightly held wish, but only for the ultimate price. Captivated by the tale, Ollie begins to wonder if the smiling man might be real when she stumbles upon the graves of the very people she's been reading about on a school trip to a nearby farm. Then, later, when her school bus breaks down on the ride home, the strange bus driver tells Ollie and her classmates: "Best get moving. At nightfall they'll come for the rest of you." Nightfall is, indeed, fast descending when Ollie's previously broken digital wristwatch begins a startling countdown and delivers a terrifying message: RUN. Only Ollie and two of her classmates heed these warnings. As the trio head out into the woods—bordered by a field of scarecrows that seem to be watching them—the bus driver has just one final piece of advice for Ollie and her friends: "Avoid large places. Keep to small." And with that, a deliciously creepy and hair-raising adventure begins.

A young woman discovers a strange portal in her uncle’s house, leading to madness and terror in this gripping new novel from the author of the “innovative, unexpected, and absolutely chilling” (Mira Grant, Nebula Award–winning author) The Twisted Ones. Pray they are hungry. Kara finds the words in the mysterious bunker that she’s discovered behind a hole in the wall of her uncle’s house. Freshly divorced and living back at home, Kara now becomes obsessed with these cryptic words and starts exploring this peculiar area—only to discover that it holds portals to countless alternate realities. But these places are haunted by creatures that seem to hear thoughts…and the more one fears them, the stronger they become. With her distinctive “delightfully fresh and subversive” (SF Bluestocking) prose and the strange, sinister wonder found in Guillermo del Toro’s Pan’s Labyrinth, The Hollow Places is another compelling and white-knuckled horror novel that you won’t be able to put down.

“When I was between the ages of five and eight, my sister and I slept in a large attic bedroom. At nightfall the room was filled with gypsies who glided around in clusters. They wore colorful thin flowing dresses and rummaged greedily through my drawers and books as if they would steal everything. I lay in bed as stiff as a board, trying to will myself invisible, praying they would not notice me looking . . . Daylight obliterated the gypsies, rendering them as thoroughly insubstantial as they had been real in the dark. I had a vague understanding that my vision was private, so I never told my family what I saw.” So began Corinne May Botz’s fascination with the invisible, a phenomenon that has profoundly influenced her approach to photography in style and subject matter. For more than ten years, she searched for ghost stories in buildings across the United States. She ventured into these haunted places with both camera and tape recorder in hand; her photographs, accompanied by first-person narratives, reveal a rare glimpse into American interiors, both physical and psychological. This book includes more than eighty haunted buildings, from the legendary to the ordinary, including Edgar Allan Poe’s house in Baltimore, a New Jersey tavern, and a Massachusetts farmhouse, a log cabin in Kentucky, and a number of private residences. The text includes ghost stories told to the author by those who lived through the moving rugs, creaking floors, apparitions, disappearing—and reappearing—objects, cries in the night, mysteriously burning candles, and other unexplained occurrences.

An exclusively Canadian textbook, this collection investigates the relationships between identity, geography, and popular culture that are produced and consumed in this sprawling country. Expanding beyond the clichés of friendliness and snow, this text provides a fresh perspective on what it means to be Canadian, both nationally and transnationally. Scholars look at historical subjects like Québécois identity and Indigenous self-representation and explore issues in contemporary media, including music, film, television, comic books, video games, and social media. From Drake to the Tragically Hip, Trailer Park Boys to The Amazing Race Canada, and poutine to maple syrup, mainstream icons and trends are studied in the interdisciplinary context of race, gender, sexuality, politics, and patriotism. Contributing to the location of Canadian popular culture, this unique resource will engage students and scholars of communication studies, cultural studies, and Canadian studies. FEATURES - Includes key concepts and theories and a glossary - Engages students with relatable historical and contemporary examples of Canadiana through a breadth of media, including television shows, websites, journals, celebrities, newspapers, literature, comic books, video games, music, and films - Ensures equal representation of a national and transnational Canada, which includes examples of race, gender, sexuality, and ethnicity, with particular attention to geographical intricacies that contain all provinces and territories

This anthology explores the spatial dimension and politics of haunting. It considers how the ‘appearance’ of absence, emptiness and the imperceptible can indicate an overwhelming presence of something that once was, and still is, (t)here. At its core, the book asks: how and why do certain places haunt us? Drawing from a diversity of mediums, forms and disciplinary approaches, the contributors to Spectral Spaces and Hauntings illustrate the complicated ways absent presences can manifest and be registered. The case studies range from the memory sites of a terrorist attack, the lost home, a vanished mining town and abandoned airports, to the post-apocalyptic wastelands in literary fiction, the photographic and filmic surfaces where spectres materialise, and the body as a site for re-corporealising the disappeared and dead. In ruminating on the afteraffects of spectral spaces on human experience, the anthology importantly foregrounds the ethical and political imperative of engaging with ghosts and following their traces.