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Undergraduate Course Directory ENGL Courses ENGL 1401

1401. Horror

3.00 credits

Prerequisites: Recommended preparation: ENGL 1007 or 1010 or 1011 or 2011.

Grading Basis: Graded

Focused studies in horror film and/or literature. CA 1.

Last Refreshed: 24-APR-24 05.20.12.452237 AM
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Term Campus Instruction Mode Instructor Section Session Schedule Location Enrollment Notes
Spring 2024 Storrs In Person Semenza, Gregory 001 Reg TuTh 11:00am‑11:50am
 AUST 110 100/100
Spring 2024 Storrs In Person Labe, Kyle 002D Reg Fr 9:05am‑9:55am
 MCHU 109 25/25
Spring 2024 Storrs In Person Labe, Kyle 003D Reg Fr 10:10am‑11:00am
 GENT 119E 25/25
Spring 2024 Storrs In Person Labe, Kyle 004D Reg Fr 1:25pm‑2:15pm
 KNS 201 25/25
Spring 2024 Storrs In Person Labe, Kyle
Semenza, Gregory		 005D Reg Fr 2:30pm‑3:20pm
 ROWE 131 25/25
Fall 2024 Storrs In Person Semenza, Gregory 001 Reg MoWe 10:10am‑11:00am
 AUST 105 100/100
Fall 2024 Storrs In Person Semenza, Gregory
O'Hara, Alyse		 001D Reg Fr 9:05am‑9:55am
 KNS 201 25/25 The Horror Film: This course focuses on the history, politics, and theory of the international horror film, from the silent era through the present day; it also surveys the important sub-genres of horror, including the monster films, paranormal films, slasher films, gialli, and folk horror films, just to mention a few. Often criticized—sometimes even dismissed—as the lowliest of all forms, horror has in fact always been one of the most capacious, formally innovative, and ideologically complex film genres. The passionate responses it inspires in audiences, from cult-like devotion to outright disgust, raise fascinating questions about why we love (or hate) to be frightened. How do the things that most terrify us change over time or within different locales? How do we draw ethical lines (personal, institutional, or national) about what we are willing to depict or watch on film? What do our individual and collective responses to horror say about us and the world in which we live? Over the course of the semester, we’ll watch about 20 films and read a healthy number of essays about them. We’ll watch Murnau’s Nosferatu (1922), Tourneur’s Cat People (1942), and Siegel’s Invasion of the Body Snatchers (1956) before turning to the great horror films of the 1960s and early 70s; these include, but are not limited to, Michael Powell’s Peeping Tom (1960), Romero’s Night of the Living Dead (1968), and Hooper’s The Texas Chainsaw Massacre (1974). Featured filmmakers of the mid 70s and beyond will include Dario Argento, John Carpenter, Ridley Scott, Julia Ducournau, and Jordan Peele. Assignments will include participation, regular quizzes, a group project, and midterm and final examinations. Please note that this course is not for the squeamish. Many of the films contain graphic violence and gore, strong sexual content, and generally disturbing themes.
Fall 2024 Storrs In Person Semenza, Gregory
O'Hara, Alyse		 002D Reg Fr 10:10am‑11:00am
 AUST 202 25/25 The Horror Film: This course focuses on the history, politics, and theory of the international horror film, from the silent era through the present day; it also surveys the important sub-genres of horror, including the monster films, paranormal films, slasher films, gialli, and folk horror films, just to mention a few. Often criticized—sometimes even dismissed—as the lowliest of all forms, horror has in fact always been one of the most capacious, formally innovative, and ideologically complex film genres. The passionate responses it inspires in audiences, from cult-like devotion to outright disgust, raise fascinating questions about why we love (or hate) to be frightened. How do the things that most terrify us change over time or within different locales? How do we draw ethical lines (personal, institutional, or national) about what we are willing to depict or watch on film? What do our individual and collective responses to horror say about us and the world in which we live? Over the course of the semester, we’ll watch about 20 films and read a healthy number of essays about them. We’ll watch Murnau’s Nosferatu (1922), Tourneur’s Cat People (1942), and Siegel’s Invasion of the Body Snatchers (1956) before turning to the great horror films of the 1960s and early 70s; these include, but are not limited to, Michael Powell’s Peeping Tom (1960), Romero’s Night of the Living Dead (1968), and Hooper’s The Texas Chainsaw Massacre (1974). Featured filmmakers of the mid 70s and beyond will include Dario Argento, John Carpenter, Ridley Scott, Julia Ducournau, and Jordan Peele. Assignments will include participation, regular quizzes, a group project, and midterm and final examinations. Please note that this course is not for the squeamish. Many of the films contain graphic violence and gore, strong sexual content, and generally disturbing themes.
Fall 2024 Storrs In Person Semenza, Gregory
O'Hara, Alyse		 003D Reg Fr 1:25pm‑2:15pm
 KNS 105 25/25 The Horror Film: This course focuses on the history, politics, and theory of the international horror film, from the silent era through the present day; it also surveys the important sub-genres of horror, including the monster films, paranormal films, slasher films, gialli, and folk horror films, just to mention a few. Often criticized—sometimes even dismissed—as the lowliest of all forms, horror has in fact always been one of the most capacious, formally innovative, and ideologically complex film genres. The passionate responses it inspires in audiences, from cult-like devotion to outright disgust, raise fascinating questions about why we love (or hate) to be frightened. How do the things that most terrify us change over time or within different locales? How do we draw ethical lines (personal, institutional, or national) about what we are willing to depict or watch on film? What do our individual and collective responses to horror say about us and the world in which we live? Over the course of the semester, we’ll watch about 20 films and read a healthy number of essays about them. We’ll watch Murnau’s Nosferatu (1922), Tourneur’s Cat People (1942), and Siegel’s Invasion of the Body Snatchers (1956) before turning to the great horror films of the 1960s and early 70s; these include, but are not limited to, Michael Powell’s Peeping Tom (1960), Romero’s Night of the Living Dead (1968), and Hooper’s The Texas Chainsaw Massacre (1974). Featured filmmakers of the mid 70s and beyond will include Dario Argento, John Carpenter, Ridley Scott, Julia Ducournau, and Jordan Peele. Assignments will include participation, regular quizzes, a group project, and midterm and final examinations. Please note that this course is not for the squeamish. Many of the films contain graphic violence and gore, strong sexual content, and generally disturbing themes.
Fall 2024 Storrs In Person Semenza, Gregory
O'Hara, Alyse		 004D Reg Fr 2:30pm‑3:20pm
 ROWE 131 25/25 The Horror Film: This course focuses on the history, politics, and theory of the international horror film, from the silent era through the present day; it also surveys the important sub-genres of horror, including the monster films, paranormal films, slasher films, gialli, and folk horror films, just to mention a few. Often criticized—sometimes even dismissed—as the lowliest of all forms, horror has in fact always been one of the most capacious, formally innovative, and ideologically complex film genres. The passionate responses it inspires in audiences, from cult-like devotion to outright disgust, raise fascinating questions about why we love (or hate) to be frightened. How do the things that most terrify us change over time or within different locales? How do we draw ethical lines (personal, institutional, or national) about what we are willing to depict or watch on film? What do our individual and collective responses to horror say about us and the world in which we live? Over the course of the semester, we’ll watch about 20 films and read a healthy number of essays about them. We’ll watch Murnau’s Nosferatu (1922), Tourneur’s Cat People (1942), and Siegel’s Invasion of the Body Snatchers (1956) before turning to the great horror films of the 1960s and early 70s; these include, but are not limited to, Michael Powell’s Peeping Tom (1960), Romero’s Night of the Living Dead (1968), and Hooper’s The Texas Chainsaw Massacre (1974). Featured filmmakers of the mid 70s and beyond will include Dario Argento, John Carpenter, Ridley Scott, Julia Ducournau, and Jordan Peele. Assignments will include participation, regular quizzes, a group project, and midterm and final examinations. Please note that this course is not for the squeamish. Many of the films contain graphic violence and gore, strong sexual content, and generally disturbing themes.