Cinematic Emotion in Horror Films and Thrillers. The Aesthetic Paradox of Pleasurable Fear. New York: Routledge, 2010
(paperback version: 2012).
Review from Jane Stadler in “Projections – The Journal for Movies and Mind”
Review from Rayd Khouloki in “Sehepunkte”
Review from Rolf Löchel in “Literaturkritik.de“
Review from Flavia Monceri in “Scope – An Online Journal of Film and Television Studies”
Review from Marcus Stiglegger in “Zeitschrift für Fantastikforschung”
“There are several elements of this book that are appealing. First, it is clearly and engagingly written (…). Second, the author is eclectic in his resources, drawing from scholarship in both German and English, from phenomenology, cognitive film theory, and cultural studies. (…) [It] is a substantial achievement.“
(Carl Plantinga, Autor von Moving Viewers: American Film and the Spectator’s Experience)
“…[an] impressive account of genre, aesthetics, and audience affect…”
“…[a] compelling and wonderfully readable volume [that] make[s] an important addition to scholarship that bridges film and philosophy”
“The difference between Hanich’s work and much scholarship on film and embodiment is his superior ability to contextualize and qualify his claims, thoughtfully developing their implications…”
(Jane Stadler, Autor von Pulling Focus: Intersubjective Experience, Narrative Film and Ethics)
“A contribution absolutely worth reading […]. The argument is well-founded and developed in a highly readable fashion throughout the book. It raises many interesting questions. Hence this study could soon become a standard reference for the study of horror films and thrillers.”
(Rayd Khouloki, Autor von Der filmische Raum: Konstruktion, Wahrnehmung, Bedeutung)
“Sehr brauchbar (…) ist die phänomenlogische Kategorienbildung, die Hanich in seinem Buch unternimmt, die für zukünftige Forschungen im Bereich der filmischen Phantastik und Spannungsinszenierung von äußerstem Interesse erscheint.”
(Marcus Stiglegger, Autor von Ritual & Verführung. Schaulust, Spektakel und Sinnlichkeit im Film)