Noel Carroll, film scholar and philosopher, offers the first serious look at the aesthetics of horror. In this book he discusses the nature and narrative structures of the genre, dealing with horror as a "transmedia" phenomenon. A fan and serious student of the horror genre, Carroll brings to bear his comprehensive knowledge of obscure and forgotten works, as well as of the horror masterpieces. Working from a philosophical perspective, he tries to account for how people can find pleasure in having (...) their wits scared out of them. What, after all, are those "paradoxes of the heart" that make us want to be horrified? (shrink)

With the exception of pornography, the morality of popular forms of entertainment has not been studied extensively by philosophers. The present paper aims to start discussion on the moral status of horror films, whose popularity and success has grown steadily since the 1970s. In particular, the author focuses on so-called “slasher” or “gorefest” films, where the narration revolves around the graphic and realistic depiction of a series of murders. The paper’s main thesis is that it is immoral to produce, distribute, (...) and view films of this kind. The reasons are traced back to two facts: 1) living the moral life requires being disposed to react compassionately to the sight of human victimization, and 2) the most violent horror films either overwhelm the spectator or promote a detachment from violence that may interfere with the development and maintenance of the correct reactive attitudes to human victimization. (shrink)

The philosophical debate over disgust and its role in moral discourse has focused on disgust’s epistemic status: can disgust justify judgments of moral wrongness? Or is it misplaced in the moral domain—irrelevant at best, positively distorting at worst? Correspondingly, empirical research into disgust has focused on its role as a cause or amplifier of moral judgment, seeking to establish how and when disgust either causes us to morally condemn actions, or strengthens our pre-existing tendencies to condemn certain actions. Both of (...) these approaches to disgust are based on a set of assumptions that I call, in what follows, the evidential model of disgust. This paper proposes an alternative model, which I call the response model. Instead of looking at disgust as a cause and justification of judgments of moral wrongness, I will argue that disgust is better understood as a response to wrongness. More precisely, I argue that disgust is a response to norm violations, and that it is a fitting response insofar as norm violations are potentially contagious and therefore pose a threat to the stability and maintenance of norms. (shrink)

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, (...) and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positiveandnegative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories. (shrink)

Are horror films immoral? Gianluca Di Muzio argues that horror films of a certain kind are immoral because they undermine the reactive attitudes that are responsible for human agents being disposed to respond compassionately to instances of victimization. I begin with this argument as one instance of what I call the Argument from Reactive Attitudes (ARA), and I argue that Di Muzio’s attempt to identify what is morally suspect about horror films must be revised to provide the most persuasive interpretation (...) of the ARA. I then argue that the ARA provides a compelling standard for evaluating the moral permissibility of creating and viewing horror films, yet I note that it is an exceedingly difficult practical task evaluating the risk that these films create for our reactive attitudes. My conclusion is that the ARA provides a useful way or orienting ourselves to the complicated details of evaluating the moral status of horror films. (shrink)

This essay updates Aaron Smuts', 2009 Philosophy Compass piece, “Art and Negative Affect” in light of recent work on the topic. The “paradox of painful art” is the general problem of how it is possible to enjoy or value experiences of art that involve painful emotions. It encompasses both the paradox of tragedy and the paradox of horror. Section 2 lays out a taxonomy of solutions to the paradox of painful art and argues that we should opt for a pluralistic (...) approach rather than seeking a unified solution. Section 3 surveys recent work on the topic, with an emphasis on views holding that it is possible for an experience of art to be pleasant partly in virtue of involving painful emotion. Section 4 suggests a range of phenomena that are not usually considered under the umbrella of the paradox of painful art but that offer promising directions for further research. (shrink)

This article defends the use of fanciful examples within the method of wide reflective equilibrium. First, it characterizes the general persuasive role of described cases within that method. Second, it suggests three criteria any example must meet in order to succeed in this persuasive role; fancifulness has little or nothing to do with whether an example is able to meet these criteria. Third, it discusses several general objections to fanciful examples and concludes that they are objections to the abuse of (...) described cases; they identify no special problem with fanciful examples. (shrink)

People can be disgusted by the concrete and by the abstract -- by an object they find physically repellent or by an ideology or value system they find morally abhorrent. Different things will disgust different people, depending on individual sensibilities or cultural backgrounds. In _Yuck!_, Daniel Kelly investigates the character and evolution of disgust, with an emphasis on understanding the role this emotion has come to play in our social and moral lives. Disgust has recently been riding a swell of (...) scholarly attention, especially from those in the cognitive sciences and those in the humanities in the midst of the "affective turn." Kelly proposes a cognitive model that can accommodate what we now know about disgust. He offers a new account of the evolution of disgust that builds on the model and argues that expressions of disgust are part of a sophisticated but largely automatic signaling system that humans use to transmit information about what to avoid in the local environment. He shows that many of the puzzling features of moral repugnance tinged with disgust are by-products of the imperfect fit between a cognitive system that evolved to protect against poisons and parasites and the social and moral issues on which it has been brought to bear. Kelly's account of this emotion provides a powerful argument against invoking disgust in the service of moral justification. (shrink)

Kant's ethics is used by some as a defence of the exploitation of animals and is criticised by others for not recognising any moral relevance of the plight of animals. These appeals overlook the broad applicability of Kant's principles. In this article, I argue that Kant's ethics implies a duty to abstain from most meat and some other animal products derived from farming. I argue that there is a Kantian principle not to choose goods that have been derived from wrongdoing, (...) with certain qualifications. This principle isolates the wrong of using others to commit wrongdoing on one's behalf. As has been argued by others, Kant's ethics implies that animal farming as we know it in our society almost universally involves wrongdoing and the slaughter of animals is especially tied to wrongdoing. I argue for a broad sense in which these ideas together imply that choosing farmed meat, and probably other animal products, is treating animal industry workers as mere means. Thus, we have a Kantian duty to abstain from these products. (shrink)

We find our way in the world partly by means of the discriminatory power of our emotions. The gut sense that something is repugnant or unsavory—the sort of feeling that many now have about various forms of biotechnology—sometimes turns out to be rooted in articulable and legitimate objections, which with time can be spelled out, weighed, and either endorsed or dismissed. But we ought not dismiss the emotional response at the outset as “mere feeling.”.