Good Grief: Sorrow, Screams, and Silence in the Contemporary Horror Film

Abstract

Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Original emphasis on “voice” and “through the wound” removed for clarity.2 For example, Vivian Sobchack considers the symbolic role of the family in films of the later twentieth century to unite the genres of melodrama, science fiction, and horror. See Sobchack (2021 Sobchack. 2021. “Bringing It All Back Home: Family Economy and Generic Exchange.” In The Dread of Difference. 2nd ed., 171–191. Edited by Barry Keith Grant. New York: University of Texas Press. [Google Scholar]). Constanza del Río Álvaro similarly considers how Scorsese’s Cape Fear (1991) stands out from other films in the psycho-thriller genre by intertwining the generic conventions of melodrama, horror, and fantasy. See Álvaro (2004 Álvaro, Río. 2004. “Genre and Fantasy: Melodrama, Horror, and the Gothic in Martin Scorsese’s Cape Fear (1991).” Atlantis 26 (1): 61–71. [Google Scholar]).