Embrace the spine-tingling journey into the evolution of horror villains through time and across mediums. From the pages of Gothic literature to the silver screen and beyond, witness the chilling transformation of fearsome antagonists. Dive into the origins of iconic monsters like Frankenstein and Dracula, and trace their metamorphosis as they haunt our nightmares and leave an indelible mark on popular culture. Explore the atmospheric horrors of early cinema, where shadowy figures emerge from the depths of German Expressionism. Uncover the atomic age's monster creations and delve into the depths of Cold War paranoia that fueled these chilling tales. Witness the emergence of slasher films, from the unforgettable Psycho to the unstoppable Michael Myers, and the rise of supernatural villains that plagued the 70s and 80s. As technology advances, so too do the horrors it brings. Witness the impact of special effects on villain design, the unsettling realism of digital terrors, and the blurred lines between reality and fiction in found footage films. Delve into the psychological depths of villains, their complex motivations, and how they reflect our collective fears and anxieties. Explore the presence of horror villains in other media, from the iconic figures in comics and graphic novels to the interactive horror of video games. Examine the evolution of villains in television series, from the eerie denizens of The Twilight Zone to the relentless walkers of The Walking Dead. The impact of horror villains on popular culture is undeniable. They have created enduring cultural icons, shaped our collective imagination, and mirrored social and political issues. Embrace the chilling narratives and spine-tingling characters that have defined horror and delve into their enduring legacy that continues to haunt our dreams.

It makes us jump. It makes us scream. It haunts our nightmares. So why do we watch horror? Why do we play it? What could possibly appealing about a genre that tries to terrify us? Why would we subject ourselves to shriek-inducing shocks, or spend dozens of hours watching a television show about grotesque flesh-eating monsters? Monstrous Forms offers a theory of horror that works through the genre across a broad range of contemporary moving-image media: film, television, video games, YouTube, gifs, streaming, virtual reality. This book analyzes our experience of and engagement with horror by focusing on its form, paying special attention to the common ground, the styles and forms that move between mediums. It looks at the ways that moving-image horror addresses its audiences, the ways that it elicits, or demands, responses from its viewers, players, browsers. Camera movement (or "camera" movement), jump scares, offscreen monsters-horror innovates and perfects styles that directly provoke and stimulate the bodies in front of the screen. Analyzing films including Paranormal Activity, It Follows, and Get Out, video games including Amnesia: The Dark Descent, Layers of Fear, and Until Dawn, and TV shows including The Walking Dead and American Horror Story, Monstrous Forms argues for understanding horror through its sensational address, and dissects the forms that make that address so effective.

The American Villain: Encyclopedia of Bad Guys in Comics, Film, and Television seeks to provide one go-to reference for the study of the most popular and iconic villains in American popular culture. Since the 1980s, pop culture has focused on what makes a villain a villain. The Joker, Darth Vader, and Hannibal Lecter have all been placed under the microscope to get to the origins of their villainy. Additionally, such bad guys as Angelus from Buffy the Vampire Slayer and Barnabas Collins from Dark Shadows have emphasized the desire for redemption—in even the darkest of villains. Various incarnations of Lucifer/Satan have even gone so far as to explore the very foundations of what we consider "evil." The American Villain: Encyclopedia of Bad Guys in Comics, Film, and Television seeks to collect all of those stories into one comprehensive volume. The volume opens with essays about villains in popular culture, followed by 100 A–Z entries on the most notorious bad guys in film, comics, and more. Sidebars highlight ancillary points of interest, such as authors, creators, and tropes that illuminate the motives of various villains. A glossary of key terms and a bibliography provide students with resources to continue their study of what makes the "baddest" among us so bad.

Step into a world of darkness! Towering castles…magical spells…demonic creatures…certain DEATH. The gothic video game has crossed generations, from 8-bit computers to the most powerful 4K PCs and consoles, to deliver dark thrills filled with atmosphere and peril. Gathered in this book are some of the most prominent and enduring games to be developed under a veil of gothic presentation, from their gloomy settings to spine-chilling audio design. Follow the histories of some of gaming’s most popular franchises, such as the decade-spanning Castlevania series and FromSoftware’s “Soulsborne” titles (Dark Souls, Bloodborne, Elden Ring). Packed with over a hundred screenshots that encompass all generations of gaming - with home console, handheld and PC gaming included - and featuring trivia and recommendations across a variety of genres such as strategy games, hack-and-slashers and first-person shooters, The History of the Gothic Video Game is an essential book for fans of all things macabre. The shadows await…

The Routledge Companion to British Media History provides a comprehensive exploration of how different media have evolved within social, regional and national contexts. The 50 chapters in this volume, written by an outstanding team of internationally respected scholars, bring together current debates and issues within media history in this era of rapid change, and also provide students and researchers with an essential collection of comparable media histories. The Routledge Companion to British Media History provides an essential guide to key ideas, issues, concepts and debates in the field. Chapter 40 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 3.0 license. https://www.routledgehandbooks.com/doi/10.4324/9781315756202.ch40

The proliferation of media and their ever-increasing role in our daily life has produced a strong sense that understanding mediaOCoeverything from oral storytelling, literary narrative, newspapers, and comics to radio, film, TV, and video gamesOCois key to understanding the dynamics of culture and society. "Storyworlds across Media" explores how media, old and new, give birth to various types of storyworlds and provide different ways of experiencing them, inviting readers to join an ongoing theoretical conversation focused on the question: how can narratology achieve media-consciousness?a The first part of the volume critically assesses the cross- and transmedial validity of narratological concepts such as storyworld, narrator, representation of subjectivity, and fictionality. The second part deals with issues of multimodality and intermediality across media. The third part explores the relation between media convergence and transmedial storyworlds, examining emergent forms of storytelling based on multiple media platforms. Taken together, these essays build the foundation for a media-conscious narratology that acknowledges both similarities and differences in the ways media narrate. aa"

Since the 2000s, the Japanese word shōjo has gained global currency, accompanying the transcultural spread of other popular Japanese media such as manga and anime. The term refers to both a character type specifically, as well as commercial genres marketed to female audiences more generally. Through its diverse chapters this edited collection introduces the two main currents of shōjo research: on the one hand, historical investigations of Japan’s modern girl culture and its representations, informed by Japanese-studies and gender-studies concerns; on the other hand, explorations of the transcultural performativity of shōjo as a crafted concept and affect-prone code, shaped by media studies, genre theory, and fan-culture research. While acknowledging that shōjo has mediated multiple discourses throughout the twentieth century—discourses on Japan and its modernity, consumption and consumerism, non-hegemonic gender, and also technology—this volume shifts the focus to shōjo mediations, stretching from media by and for actual girls, to shōjo as media. As a result, the Japan-derived concept, while still situated, begins to offer possibilities for broader conceptualizations of girlness within the contemporary global digital mediascape.

Visual novels (VNs), a ludic video game genre that pairs textual fiction stories with anime-like images and varying degrees of interactivity, have increased in popularity among Western audiences in recent years. Despite originating in Japan, these stories have made their way into global culture as a genre accessible for both play and creation with wide-ranging themes from horror and loneliness to sexuality. The History and Allure of Interactive Visual Novels begins with a comprehensive overview of the visual novel genre and the cultural evolution that led to its rise, then explains the tropes and appeal of subgenres like bishojo (cute girl games), detective games, horror, and eroge (erotic games). Finally, the book explores the future of the genre in both user-generated games and games from other genres that liberally borrow both narrative and ludological themes from visual novels. Whether you're a long-standing fan of the genre or a newcomer looking for a fresh experience, The History and Allure of Interactive Visual Novels will provide an accessible and critically engaging overview of a genre that is rich in storytelling yet often overlooked.

Media in general and narrative media in particular have the potential to represent not only a variety of both possible and actual worlds but also the perception and consciousness of characters in these worlds. Hence, media can be understood as "qualia machines," as technologies that allow for the production of subjective experiences within the affordances and limitations posed by the conventions of their specific mediality. This edited collection examines the transmedial as well as the medium-specific strategies employed by the verbal representations characteristic for literary texts, the verbal-pictorial representations characteristic for comics, the audiovisual representations characteristic for films, and the interactive representations characteristic for video games. Combining theoretical perspectives from analytic philosophy, cognitive theory, and narratology with approaches from phenomenology, psychosemiotics, and social semiotics, the contributions collected in this volume provide a state-of-the-art map of current research on a wide variety of ways in which subjectivity can be represented across conventionally distinct media.

This book explores horror film franchising from a broad range of interdisciplinary perspectives and considers the horror film’s role in the history of franchising and serial fiction. Comprising 12 chapters written by established and emerging scholars in the field, Horror Franchise Cinema redresses critical neglect toward horror film franchising by discussing the forces and factors governing its development across historical and contemporary terrain while also examining text and reception practices. Offering an introduction to the history of horror franchising, the chapters also examine key texts including Universal Studio monster films, Blumhouse production films, The Texas Chainsaw Massacre, A Nightmare on Elm Street, Alien, I Spit on Your Grave, Let the Right One In, Italian zombie films, anthology films, and virtual reality. A significant contribution to studies of horror cinema and film/media franchising from the 1930s to the present day, this book will be of interest to students and scholars of film studies, media and cultural studies, franchise studies, political economy, audience/reception studies, horror studies, fan studies, genre studies, production cultures, and film histories.