Horror Criticism

Many creatures lurk in the dark, weaving on top of one another, roiling together like waves on the night sea. The darkness forms in layers to encompass the land, fill the corners, and obscure angles. Untold mysteries lie just beyond reach told in many tongues, many inflections, many rhythms. The stories are many. Innumerable. Legion.

Film historian David Thomson, leads us into this very delicate subject. While unpacking classics such as Seven, Strangers on a Train, The Conformist, The Godfather, and The Shining, he offers a disconcerting sense of how the form of movies makes us accomplices in this sinister narrative process. Murder and the Movies admits us into what Thomson calls "a warped triangle": the creator working out a compelling death; the killer doing his and her best; and the entranced spectator trying to cling to life and a proper sense of decency.

Conventional wisdom has it that the origins of the horror genre are found in the nineteenth century, in works like Frankenstein, Dracula, and The Strange Case of Dr Jekyll and Mr. Hyde. In this paradigm-shaking new book, Bible scholar and cultural historian Brandon Grafius argues that the Bible is, among other things, the world's first work of horror literature. The tropes and themes that we find in slasher movies, body horror, folk horror, and zombie apocalypses were kickstarted by the Bible. Before Godzilla, there were the monsters arising from the sea in the book of Daniel.

At 14, Bronislaw Huberman played the Brahms "Violin Concerto" in Vienna, winning high praise from the composer himself. Instantly famous, Huberman began touring all over the world and received invitations to play for royalty across Europe. But after witnessing the tragedy of World War I, he committed his phenomenal talent and celebrity to aid humanity. After studying at the Sorbonne in Paris, Huberman joined the ranks of Sigmund Freud and Albert Einstein in calling for peace through the Pan European Movement.