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Why are jokes funny? Why do we laugh? In Funny Peculiar, Mikita Brottman demurs from recent scholarship that takes laughter-- and the broader domain of humor and the comical--as a liberating social force and an endearing aspect of self-expression. For Brottman, there is nothing funny about laughter, which is less connected to mirth and feelings of good will than to a nexus of darker emotions: fear, aggression, shame, anxiety. Brottman rethinks not only the mechanisms of humor but also the relation of humor to the body and the senses. To this end, she provides an engrossing accou

Wit and humor --- Sex --- Gender (Sex) --- Human beings --- Human sexuality --- Sex (Gender) --- Sexual behavior --- Sexual practices --- Sexuality --- Sexology --- History and criticism. --- Legman, G.

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As Freud predicted, there has always been great anxiety about the place of psychoanalysis in contemporary life, particularly in relation to its ambiguous and complicated relationship to the realm of science. There is also a long history of widespread resistance, in both academia and medicine, to anything associated with the world of the supernatural; very few people, in their professional lives, at least, are willing to admit a serious interest in occult phenomena. As a result, paranormal traces have all but vanished from the psychoanalytic process - though not without leaving a residue. This

Parapsychology and medicine --- Psychoanalysis --- Telepathy. --- Projective identification. --- History.

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In this volume, Stephen Prince has collected essays reviewing the history of the horror film and the psychological reasons for its persistent appeal, as well as discussions of the developmental responses of young adult viewers and children to the genre. The book focuses on recent postmodern examples such as The Blair Witch Project. In a daring move, the volume also examines Holocaust films in relation to horror. Part One features essays on the silent and classical Hollywood eras. Part Two covers the postWorld War II era and discusses the historical, aesthetic, and psychological characteristics of contemporary horror films. In contrast to horror during the classical Hollywood period, contemporary horror features more graphic and prolonged visualizations of disturbing and horrific imagery, as well as other distinguishing characteristics. Princes introduction provides an overview of the genre, contextualizing the readings that follow. Stephen Prince is professor of communications at Virginia Tech. He has written many film books, including Classical Film Violence: Designing and Regulating Brutality in Hollywood Cinema, 19301968, and has edited Screening Violence, also in the Depth of Field Series.

Horror films -- History and criticism. --- Horror films --- Film --- Music, Dance, Drama & Film --- History and criticism --- Horror films. --- Film. --- Horror. --- Emotions --- Fear --- Spookfests (Motion pictures) --- Motion pictures --- Haunted house films --- Monster films --- Film criticism. --- Motion picture criticism --- Moving-picture criticism --- Criticism --- Evaluation

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Art