Cover -- Half-title -- Series-title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgments -- Foreword: "What Lies Beneath?" -- Introduction: Psychoanalysis in/and/of the Horror Film -- THE MYTH OF META-THEORY -- PSYCHOANALYTIC (HORROR FILM) THEORY AT A MINIMUM -- PSYCHOANALYTIC SUPPLEMENTATION -- NOTES -- PART ONE THE QUESTION OF HORROR-PLEASURE -- 1 "What's the Matter with Melanie?": Reflections on the Merits of Psychoanalytic Approaches to Modern Horror Cinema -- Nevertheless? -- VICIOUS CIRCLES -- UNIVERSALIZING TENDENCIES -- ANXIOUS VIEWERS -- NOTES -- 2 A Fun Night Out: Horror and Other Pleasures of the Cinema -- GENERAL OBJECTIONS TO PSYCHOANALYSIS -- OBJECTIONS TO PSYCHOANALYTIC ACCOUNTS OF (HORROR) FILM SPECTATORSHIP -- Prince -- Crane -- Tudor -- Carroll -- Gaut -- CONCLUSION -- NOTES -- 3 Excerpt from "Why Horror? The Peculiar Pleasures of a Popular Genre" with a New Afterword by the Author -- THE RETURN OF THE REPRESSED -- THE UNCONSCIOUS OF IDEOLOGY -- AFTERWORD (MAY 2001) -- 4 Philosophical Problems Concerning the Concept of Pleasure in Psychoanalytical Theories of (the Horror) Film -- I -- II -- III -- NOTES -- PART TWO THEORIZING THE UNCANNY -- 5 Explaining the Uncanny in The Double Life of Véronique -- FREUD AND THE UNCANNY -- DOUBLING AND THE PSYCHOANALYTIC UNCANNY -- REFLEXIVITY -- THE UNCANNY AND THE SUBLIME -- PLAYS UPON GENDER -- CONCLUSION -- NOTES -- 6 Manifestations of the Literary Double in Modern Horror Cinema -- THEORIZING THE DOUBLE -- MAPPING THE DOUBLE -- DEFENDING THE DOUBLE -- NOTES -- 7 Heimlich Maneuvres: On A Certain Tendency of Horror and Speculative Cinema -- EXAMPLES -- Classic Universal Studios Monsters -- The Godzilla Canon -- Jaws of the James Bond Cycle -- Terminators -- Animated Heimlich Maneuvres -- Heimlich Maneuvres in Myth, Folklore, and Literature -- HUMOR AND THE HEIMLICH MANEUVRE.

Humor Related to Unheimlich Monsters -- Humor Related to Heimlich Monsters -- THE HEIMLICH MONSTER AS RECUPERATED CHILD, ADOLESCENT, PARENT . . . AND DIVINITY -- IN SUM -- NOTES -- 8 "It was a dark and stormy night . . .": Horror Films and the Problem of Irony -- I -- II -- III -- NOTES -- PART THREE REPRESENTING PSYCHOANALYSIS -- 9 What Does Dr. Judd Want? Transformation, Transference, and Divided Selves in Cat People -- I -- II -- III -- IV -- NOTES -- 10 "Ultimate Formlessness": Cinema, Horror, and the Limits of Meaning -- I -- II -- III -- 11 Freud's Worst Nightmare: Dining with Dr. Hannibal Lecter -- FREUD, FILM, AND MODERNITY -- THE MODERN SELF -- SCREEN MEMORIES -- SCREEN MEMORIES AND THE HORROR FILM -- THE OPTICAL UNCONSCIOUS -- HANNIBAL LECTER: THE CANNIBAL MONSTER -- PART FOUR NEW DIRECTIONS -- 12 Doing Things with Theory: From Freud's Worst Nightmare to (Disciplinary) Dreams of Horror's Cultural Value -- "FRACTAL DISTINCTIONS" -- THE TIMELESS TERRORS OF PSYCHOANALYSIS AND THE TIMELY SPIRITS OF SOCIOLOGY -- CONCLUSION -- NOTES -- 13 The Darker Side of Genius: The (Horror) Auteur Meets Freud's Theory -- "A CERTAIN TENDENCY" AND THE MURDEROUS GAZE: HORROR AND THE AUTEUR -- "AUTEUR DESIRE" AND THE PSYCHOPATHOLOGY OF GENIUS -- FILM THEORY'S WORST NIGHTMARE: THE HORROR AUTEUR FILM -- Shadow of the Vampire: Post-Lacanian Snuff -- Gods and Monsters and Classical Auteurism -- Ed Wood, Identity Politics, and the Anti-Auteur -- Psychology Today: American Movie, Trauma Culture, and the Self-Made Auteur -- NOTES -- 14 Violence and Psychophysiology in Horror Cinema -- I -- II -- III -- IV -- V -- NOTES -- Afterword: Psychoanalysis and the Horror Film -- NOTES -- About the Contributors -- Bibliography -- Index.