This volume explores the subject of psychoanalysis and film.This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema in a series of essays that debate its legitimacy, utility, and validity as applied to the horror genre. It distinguishes itself from previous work in this area through the self-consciousness with which psychoanalytic concepts are employed and the theorization that coexists with interpretations of particular horror films and subgenres.This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema in a series of essays that debate its legitimacy, utility, and validity as applied to the horror genre. It distinguishes itself from previous work in this area through the self-consciousness with which psychoanalytic concepts are employed and the theorization that coexists with interpretations of particular horror films and subgenres.This volume finds the proper place of psychoanalytic thought in critical analysis of cinema through a series of essays that debate its legitimacy, utility, and validity as applied to the horror genre. It distinguishes itself from previous work in this area through the self-consciousness with which psychoanalytic concepts are employed and the theorization that coexists with interpretations of particular horror films and subgenres.Preface: what lies beneath? Robin Wood; Introduction: Psychoanalysis in/and/of the horror film Steven Jay Schneider; Part I. The Question of Horror-Pleasure: 1. 'What's the matter with Melanie?': reflections on the merits of psychoanalytic approaches to modern horror cinema Cosimo Urbano; 2. A fun night out: horror and other pleasures of the cinema Michael Levine; 3. Excerpt from 'Why Horror? The New Pleasures of a Popular Genre' (with a new afterword by the author) Andrew Tudor; 4. Philosophical problems concerning the concept of pleasure for future psychoanalytical theories of (the horror) film Malcolm Turvey; Part II. Thld