New ASOIAF Anthology Book || Pre-order now!

Notes from the Citadel: The Philosophy and Psychology of A Song of Ice and Fire
eBook: https://www.amazon.com/dp/B0CQRG5QWP
Paperback: https://www.barnesandnoble.com/w/notes-from-the-citadel-duncan-hubber/1144712677

In Notes from the Citadel, Duncan Hubber (PhD) explores the philosophical and psychological depths of George R. R. Martin’s epic fantasy saga, A Song of Ice and Fire (the basis of the HBO series Game of Thrones and House of the Dragon). The anthology covers a range of topics, from Martin’s postmodern approach to the fantasy genre to the effects of patriarchy, feudalism, and war upon his characters. Hubber’s analysis combines academic scrutiny with a fervent adoration for Martin’s work. While the night may be long and the wait between books gruelling, these essays offer a wealth of new insights, granting veteran fans a fresh appreciation and understanding of Martin’s story, characters, and writing.

• A Shadow on the Wall: Collapsing the Metanarratives of Fantasy Fiction
• Below the Salt: The Meaning of Mealtime in Westeros
• In the End: The Existential Significance of Oldstones
• I Know Who I Am: Selfhood and Slavery in HBO’s Game of Thrones
• A Thousand Faces and None: The Depersonalisation of Arya Stark
• Back in the Old Ways: The Restorative Nostalgia of the Ironborn
• The Acorn is the Oak: The Eternalist Philosophy of the Three-Eyed Crow
• Sympathy for the Devil: A Phenomenological Perspective of the Others
• Poisoned Memories: Linking Grief and Addiction in Martin’s Characters
• When Life Gives You Lemon Trees: Evaluating the Conspiracy Mentality of the Ice and Fire Fandom

Ep.15: Egyptian Cinema – Cairo Station / The Night of Counting the Years / The Kit Kat / The Square

Ep.15: Egyptian Cinema – Cairo Station / The Night of Counting the Years / The Kit Kat / The Square

Man Bites Dog (1992) and Serial Killer Culture | Extract from POV HORROR

POV Horror: The Trauma Aesthetic of the Found Footage Subgenre
Order: https://www.amazon.com/POV-Horror-Aesthetic-Footage-Subgenre-ebook/dp/B0CN51C4GM/

Drawing together strands of film theory and psychology, this book offers a fresh assessment of the found footage horror subgenre. It reconceptualizes landmark films—including The Blair Witch Project (1999), Cloverfield (2008), Paranormal Activity (2009), and Man Bites Dog (1992)—as depictions of the lived experience and social legacy of psychological trauma. The author demonstrates how the frantic cinematography and ambiguous formulation of the monster evokes the shocked and disoriented cognition of the traumatized mind. Moreover, the frightening effect of trauma on society is shown to be a recurring theme across the subgenre. Close textual analysis is given to a wide range of films over several decades, including titles that have yet to receive any academic attention.

Divided into four distinct sections, the book examines how found footage horror films represent the effects of historical and contemporary traumatic events on Western societies, the vicarious spread of traumatic experiences via mass media, the sublimation of domestic abuse into haunted houses, and the viewer’s identification with the monster as an embodiment of perpetrator trauma.

Cannibal Holocaust (Cannibal Holocaust) and the Post-Colonial Society | Extract from POV HORROR

POV Horror: The Trauma Aesthetic of the Found Footage Subgenre
Order: https://www.amazon.com/POV-Horror-Aesthetic-Footage-Subgenre-ebook/dp/B0CN51C4GM/

Drawing together strands of film theory and psychology, this book offers a fresh assessment of the found footage horror subgenre. It reconceptualizes landmark films—including The Blair Witch Project (1999), Cloverfield (2008), Paranormal Activity (2009), and Man Bites Dog (1992)—as depictions of the lived experience and social legacy of psychological trauma. The author demonstrates how the frantic cinematography and ambiguous formulation of the monster evokes the shocked and disoriented cognition of the traumatized mind. Moreover, the frightening effect of trauma on society is shown to be a recurring theme across the subgenre. Close textual analysis is given to a wide range of films over several decades, including titles that have yet to receive any academic attention.

Divided into four distinct sections, the book examines how found footage horror films represent the effects of historical and contemporary traumatic events on Western societies, the vicarious spread of traumatic experiences via mass media, the sublimation of domestic abuse into haunted houses, and the viewer’s identification with the monster as an embodiment of perpetrator trauma.

Paranormal Activity (2009) and Complex Trauma | Extract from POV HORROR

POV Horror: The Trauma Aesthetic of the Found Footage Subgenre
Order: https://www.amazon.com/POV-Horror-Aesthetic-Footage-Subgenre-ebook/dp/B0CN51C4GM/

Drawing together strands of film theory and psychology, this book offers a fresh assessment of the found footage horror subgenre. It reconceptualizes landmark films—including The Blair Witch Project (1999), Cloverfield (2008), Paranormal Activity (2009), and Man Bites Dog (1992)—as depictions of the lived experience and social legacy of psychological trauma. The author demonstrates how the frantic cinematography and ambiguous formulation of the monster evokes the shocked and disoriented cognition of the traumatized mind. Moreover, the frightening effect of trauma on society is shown to be a recurring theme across the subgenre. Close textual analysis is given to a wide range of films over several decades, including titles that have yet to receive any academic attention.

Divided into four distinct sections, the book examines how found footage horror films represent the effects of historical and contemporary traumatic events on Western societies, the vicarious spread of traumatic experiences via mass media, the sublimation of domestic abuse into haunted houses, and the viewer’s identification with the monster as an embodiment of perpetrator trauma.

Post-9/11 Symbolism in Cloverfield (2008) | Extract from POV HORROR

POV Horror: The Trauma Aesthetic of the Found Footage Subgenre
Order: https://www.amazon.com/POV-Horror-Aesthetic-Footage-Subgenre-ebook/dp/B0CN51C4GM/

Drawing together strands of film theory and psychology, this book offers a fresh assessment of the found footage horror subgenre. It reconceptualizes landmark films—including The Blair Witch Project (1999), Cloverfield (2008), Paranormal Activity (2009), and Man Bites Dog (1992)—as depictions of the lived experience and social legacy of psychological trauma. The author demonstrates how the frantic cinematography and ambiguous formulation of the monster evokes the shocked and disoriented cognition of the traumatized mind. Moreover, the frightening effect of trauma on society is shown to be a recurring theme across the subgenre. Close textual analysis is given to a wide range of films over several decades, including titles that have yet to receive any academic attention.

Divided into four distinct sections, the book examines how found footage horror films represent the effects of historical and contemporary traumatic events on Western societies, the vicarious spread of traumatic experiences via mass media, the sublimation of domestic abuse into haunted houses, and the viewer’s identification with the monster as an embodiment of perpetrator trauma.

Online Folk Horror in The Blair Witch Project (1999) | Extract from POV HORROR

POV Horror: The Trauma Aesthetic of the Found Footage Subgenre
Order: https://www.amazon.com/POV-Horror-Aesthetic-Footage-Subgenre-ebook/dp/B0CN51C4GM/

Drawing together strands of film theory and psychology, this book offers a fresh assessment of the found footage horror subgenre. It reconceptualizes landmark films—including The Blair Witch Project (1999), Cloverfield (2008), Paranormal Activity (2009), and Man Bites Dog (1992)—as depictions of the lived experience and social legacy of psychological trauma. The author demonstrates how the frantic cinematography and ambiguous formulation of the monster evokes the shocked and disoriented cognition of the traumatized mind. Moreover, the frightening effect of trauma on society is shown to be a recurring theme across the subgenre. Close textual analysis is given to a wide range of films over several decades, including titles that have yet to receive any academic attention.

Divided into four distinct sections, the book examines how found footage horror films represent the effects of historical and contemporary traumatic events on Western societies, the vicarious spread of traumatic experiences via mass media, the sublimation of domestic abuse into haunted houses, and the viewer’s identification with the monster as an embodiment of perpetrator trauma.

Ep.14: Canadian Cinema – Scott Pilgrim vs. the World / Goon / I Killed My Mother / The Sweet Hereafter

Ep.14: Canadian Cinema – Scott Pilgrim vs. the World / Goon / I Killed My Mother / The Sweet Hereafter

NEW BOOK!! POV Horror: The Trauma Aesthetic of the Found Footage Subgenre

Paperback: https://mcfarlandbooks.com/product/pov-horror/
eBook: https://www.amazon.com/POV-Horror-Aesthetic-Footage-Subgenre-ebook/dp/B0CN51C4GM/

Drawing together strands of film theory and psychology, POV Horror offers a fresh assessment of the found footage horror subgenre. It reconceptualizes landmark films—including The Blair Witch Project (1999), Cloverfield (2008), Paranormal Activity (2009), and Man Bites Dog (1992)—as depictions of the lived experience and social legacy of psychological trauma. In particular, the author demonstrates how the frantic cinematography and ambiguous formulation of the monster evokes the shocked and disoriented cognition of the traumatized mind. Moreover, the frightening effect of trauma on society is shown to be a recurring theme across the subgenre. Close textual analysis is given to a wide range of films over several decades, including titles that have yet to receive any academic attention. Divided into four distinct sections, the book examines how found footage horror films represent the effects of historical and contemporary traumatic events on Western societies, the vicarious spread of traumatic experiences via mass media, the sublimation of domestic abuse into haunted houses, and the viewer’s identification with the monster as an embodiment of perpetrator trauma.

Ep.13: Mexican Cinema – Maria Candelaria / Rudo y Cursi / Roma / Y tu mama tambien

Ep.13: Mexican Cinema – Maria Candelaria / Rudo y Cursi / Roma / Y tu mama tambien