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Assume that it is talking to us, like a patient on a psychoanalyst’s couch, about one thing while it means another.”1 In other words, horror is always about more than what it’s about. “Begin,” says Stephen King, “by assuming that the tale of horror, no matter how primitive, is allegorical by its very nature that it is symbolic. The registered company address is: GewerbestraCham, Switzerland Cover illustration: © MATJAZ SLANIC / E+ / Getty Image This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication.

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in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The use of general descriptive names, registered names, trademarks, service marks, etc. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. ISBN 978-4-7 ISBN 978-5-4 (eBook) © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2020 This work is subject to copyright. Picariello Department of Political Science University of South Carolina Sumter Sumter, SC, USA The Politics of Horror Edited by Damien K. “The Mother Who Eats Her Own”: The Politics of Motherhood in Irish Horror (Eamon Byers).Pages 249-266įrankenstein’s Dream and the Politics of Death (Jeff J. Post-Racial Lies and Fear of the Historical-Political Boomerang in Jordan Peele’s Get Out and Colson Whitehead’s The Underground Railroad (Cammie M. “‘The Mayor of Shark City’: Political Power in Jaws” (Leslie Stratyner).Pages 209-218įear of Founding from Plato to Poltergeist (Damien K. Let the Bodies (of Water) Hit the Floor: Development and Exploitation in John Boorman’s Deliverance (Chelsea Renee Ratcliff, Salvatore J. Mother! and the Horror of Environmental Abuse (Emma Frances Bloomfield).Pages 187-198

“Bring Him the Blood of the Outlanders!”: Children of the Corn as Farm Crisis Horror (Kathleen P. Witches in the South: Past, Present, and in Comics (Daniel V. …Just as You Will Do to One Another!: Colonialism That Consumes Itself in Warren Publications’ Creepy (Zack Kruse).Pages 147-157 Zombie Komiks in a Cacique Democracy: Patay Kung Patay’s Undead Revolution (Lara Saguisag).Pages 129-145

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Reality TV as Horror: Psychological Terror and Physical Torture (Carol Westcamp).Pages 115-126 The Exorcist and a New Kind of American Television Horror (Lynn Kozak).Pages 103-114 Fielder).Pages 73-87Īnxiety in Suburbia: The Politics of Gaming in Neighborhood 3: Requisition of Doom (Michelle Salerno).Pages 89-100 The Monsters Among Us: Realism and Constructivism in Vampire: The Masquerade (James D. Through a Glass Darkly: The Dimensionality and Inadequacy of Political Fear in Stephen King’s The Stand (Jennifer A. The Democratic Impulse in Post-Apocalyptic Films (Christie L. We’re Witches and We’re Hunting You: Matriarchy and Misogyny in Conjure Wife (Meghan Purvis).Pages 33-43 Horror, Crisis, and Control: Tales of Facing Evils (John S. The American Nightmare: Graveyard Voters, Demon Sheep, Devil Women, and Lizard People (Christina M.