{"id":2011,"date":"2023-03-08T15:30:53","date_gmt":"2023-03-08T22:30:53","guid":{"rendered":"http:\/\/www.fantastic-arts.org\/jfa\/?page_id=2011"},"modified":"2023-03-13T22:11:38","modified_gmt":"2023-03-14T04:11:38","slug":"jfa-33-1","status":"publish","type":"page","link":"https:\/\/www.fantastic-arts.org\/jfa\/about-the-jfa\/jfa-33-1\/","title":{"rendered":"JFA 33.1"},"content":{"rendered":"\n

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JFA 33.1<\/strong> – Table of Contents<\/p>The JFA thanks the volunteers working under the former editorial administration for their work collecting, reviewing and building the content of this issue. <\/strong><\/cite><\/blockquote><\/figure>\n\n\n\n

Images of Horror: Black Childhood as a Site of Resistance in Visual Media <\/p>\n\n\n\n

        Sara Austin<\/em><\/p>\n\n\n\n

The Emotion of Dread in Cinematic Horror                                          <\/p>\n\n\n\n

        Matthias De Bondt <\/em><\/p>\n\n\n\n

Atomic Art and the Ecological Perspectives of David Lynch             <\/p>\n\n\n\n

        Todd Tietchen  <\/em><\/p>\n\n\n\n

Han Song\u2019s Weirdly Sublime Anti-Modernity                                    <\/p>\n\n\n\n

Ron Judy <\/em><\/p>\n\n\n\n

REVIEWS<\/p>\n\n\n\n

Kevin J. Wetmore Jr.\u2019s The Conjuring (Devil\u2019s Advocates)<\/em>               <\/p>\n\n\n\n

        Rev. by Zachary Doiron<\/em><\/p>\n\n\n\n

Tison Pugh\u2019s Harry Potter and Beyond: On J.K. Rowling\u2019s Fantasies and Other Fictions <\/em><\/p>\n\n\n\n

        Rev. by Anna L\u00fcscher<\/em><\/p>\n\n\n\n

Christy Williams\u2019s Mapping Fairy-Tale Space: Pastiche and Metafiction in Borderless Tales<\/em>  <\/p>\n\n\n\n

        Rev. by Alexandra Lykissas<\/em><\/p>\n\n\n\n

Kyle A. Moody and Nicholas Yanes\u2019s Hannibal for Dinner: Essays<\/em> on America\u2019s Favorite Cannibal on Television                                     <\/em><\/p>\n\n\n\n

    Rev. by Kathleen Shaughnessy<\/em><\/p>\n\n\n\n

Laurence Rickels\u2019s Critique of Fantasy, Vol 1: Between a Crypt<\/em> and a Datemark<\/em>, Critique of Fantasy, Vol 2: The Contest Between<\/em> B-Genres<\/em>, and Critique of Fantasy, Vol 3: The Block of Fame<\/em>        <\/p>\n\n\n\n

        Rev. by Brian Willems<\/em><\/em><\/p>\n\n\n\n

Abstracts<\/strong><\/p><\/blockquote><\/figure>\n\n\n\n

Sara Austin<\/p>\n\n\n\n

Images of Horror: Black Childhood as a Site of Resistance in Visual Media <\/strong><\/p>\n\n\n\n

Child characters in Black horror interact with the monstrous as a means of resistance to racist violence. In this article, I examine how visual examples of Black horror, including the television series Lovecraft Country <\/em>(2020), picture books Wee Winnie Witch’s Skinny<\/em> (2004) and Precious and the Boo Hag <\/em>(2005), and the film Us<\/em> (2019),re-center Black child subjectivity from images of the body in pain onto community belonging by challenging both the audience and subject divides between the child and adult. These examples acknowledge that threats to Black subjectivity are continuous, but the family remains, grows, and passes on art and love to the next generation. This bringing-together of adults, children, families, and neighbors carries a powerful message of belonging and value as its own Radical Aesthetic within Black horror.<\/p>\n\n\n\n

Austin, Sara. \u201cImages of Horror: Black Childhood as a Site of Resistance in Visual Media.\u201d Journal of the Fantastic in the Arts<\/em>, vol. 33, no. 1, 2022, pp. 9\u201338.<\/p>\n\n\n\n

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Matthias De Bondt<\/p>\n\n\n\n

The Emotion of Dread in Cinematic Horror<\/strong><\/p>\n\n\n\n

This article concerns itself with the cinematic emotion of dread. Within Horror Studies, cinematic dread has been theorized as a temporal emotion, mostly centered around the confrontation with the monstrous, after which dread evolves into other cinematic emotions of shock and\/or horror. For this reason, the function of dread within the horror film experience is only recognized in relation to other emotions it should precede. However, this article argues that dread plays a crucial emotion in the affective workings of some horror films that fall under the term \u201cdread-full\u201d films. Through the close reading of two case studies, namely It Comes At Night <\/em>and The Blackcoat\u2019s Daughter<\/em>, the article reasons that dread exists as an inseparable part of the viewing experience of these films and in doing so, argues that the emotion of dread is inherent <\/em>to the overall cinematic horror experience.<\/p>\n\n\n\n

De Bondt, Matthias. \u201cThe Emotion of Dread in Cinematic Horror.\u201d Journal of the Fantastic in the Arts<\/em>, vol. 33, no. 1, 2022, pp. 39\u201363.<\/p>\n\n\n\n

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Todd Tietchen<\/p>\n\n\n\n

Atomic Art and the Ecological Perspectives of David Lynch<\/strong><\/p>\n\n\n\n

The work of David Lynch represents an essential engagement with the Anthropocene and its aesthetic forms. This is especially evident in the case of Twin Peaks, which integrates influences from multiple genres and the avant-garde into a complex mythopoeic treatment of planetary ecological crisis. Episode eight of Twin Peaks: The Return, with its Promethean title \u201cGotta Light?\u201d, grounds Lynch\u2019s mythopoesis in an origin story that builds upon foundational concepts regarding the Anthropocene, including its connections to the atomic age, its grounding suppositions in androcentrism, its complicity in cosmological violence, and the value of post-nature perspectives for understanding the (perhaps inescapably) precarious present.<\/p>\n\n\n\n

Tietchen, Todd. \u201cAtomic Art and the Ecological Perspectives of David Lynch.\u201d Journal of the Fantastic in the Arts<\/em>, vol. 33, no. 1, 2022, pp. 64\u201395.<\/p>\n\n\n\n

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Ron Judy<\/p>\n\n\n\n

Han Song\u2019s Weirdly Sublime Anti-Modernity<\/strong> <\/p>\n\n\n\n

Han Song is a leading 21st-century Chinese science fiction author, but writes with great pathos about a modernity populated by monsters and perverse new social arrangements. From the aeronautical cannibalism of \u201cThe Passengers and the Creator\u201d to the ghost labor of \u201cRegenerated Bricks\u201d and zombified workers of \u201cMy Fatherland Does Not Dream,\u201d Han\u2019s oeuvre repeatedly emphasizes the demented, and according to him \u201cforeign\u201d aspects of China\u2019s passage into the globalized modernity. In this article I argue that, in the aforementioned novellas Han projects a consistent vision of a \u201cweird modernity\u201d that is at times deeply ethnocentric, localist, and reminiscent of the \u201cOld Weird\u201d authors of the early 20th-century (e.g., H.P. Lovecraft, Robert E. Howard, Seabury Quinn, and Clark Ashton Smith). Reading his work\u2019s anti-modern pathos as a variant of weird fiction enables me to incorporate a Lacanian analysis of his racial others in terms of \u201cenjoyment theft\u201d borrowed from Slavoj Zizek. Han\u2019s work is thus a gallery of unspeakable \u201csublime objects\u201d that represent the weird potential and threat of modernity\u2014i.e., it expresses China\u2019s still deep-seated anxieties about \u201copening up\u201d to an alien, non-Chinese \u201coutside\u201d world that seeks to steal, exploit, or subvert its desires.<\/p>\n\n\n\n

Judy, Ron. \u201cHan Song\u2019s Weirdly Sublime Anti-Modernity .\u201d Journal of the Fantastic in the Arts<\/em>, vol. 33, no. 1, 2022, pp. 96\u2013127.<\/p>\n","protected":false},"excerpt":{"rendered":"

JFA 33.1 – Table of Contents The JFA thanks the volunteers working under the former editorial administration for their work collecting, reviewing and building the content of this issue. Images of Horror: Black Childhood as a Site of Resistance in Visual Media         Sara Austin The Emotion of Dread in Cinematic Horror                                                   Matthias […]<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":1940,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2011","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages\/2011","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/comments?post=2011"}],"version-history":[{"count":9,"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages\/2011\/revisions"}],"predecessor-version":[{"id":2096,"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages\/2011\/revisions\/2096"}],"up":[{"embeddable":true,"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages\/1940"}],"wp:attachment":[{"href":"https:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/media?parent=2011"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}