Mario DeGiglio-Bellemare teaches courses in genre cinema, grotesque traditions, cinematic embodiment and monster ethics in the Humanities department at John Abbott College, Canada. He is also an independent filmmaker and the co-director of the Montréal Monstrum Society.

“To reckon with the horror film’s connections to the Grand Guignol theatre is to refigure our understanding of the horror genre. DeGiglio-Bellemare stages this reckoning with the sort of ambition, enthusiasm and a wide range of references that enrich horror studies. This is a stimulating and provocative book”— Adam Lowenstein, author of Horror Film and Otherness, Professor of English and Film/Media Studies, University of Pittsburgh, USA.“This is a terrific book. While horror scholars frequently use the term ‘Grand-Guignol’ as a sort of shorthand – ‘Grand-Guignol effects,’ or ‘Guignol Treatment’ – we haven’t devoted the time and scholarship to fully unpack the Grand-Guignol’s lingering influence and affect in horror cinema. If that were all this book did, that would be enough to make it a necessary addition to the field. But DeGiglio-Bellemare also provides a rich and thick theoretical horror discussion – invoking Bataille, cultural studies, Marx and the rich scholarly history of the field. Well-written and immensely readable, this is a smart, sophisticated, well-conceived book – by a terrific scholar. Belongs on the bookshelf of every horror scholar and horror lover, and definitely belongs on the syllabus” — Joan Hawkins, author of Cutting-Edge: Art-Horror and the Horrific Avant-garde.

• Introduction: Grand-Guignol Cinema and the Senses Eyes Without a Face, Attractions, Affect and Facial Trauma; One The Grand-Guignol Theatre: A Short History of the Theatre and Spatial Ecologies of Dread The Hitch-Hiker and Shivers; Two Grotesque Carnivals of “Stubborn” Aurality: Embodied Discourse in Early Talkie Horror Cinema Murders in the Rue Morgue, Freaks, and The Black Cat; Three The Sight of Corpses in the Ruins of Modernity: Surgical Sadists under Censorship The Body Snatcher, and Mad Love, The Blood of the Beasts; Four Erotic Abattoirs of Bad Taste: Unproductive Potlatch in Exploitation Cinema Fascination, Grapes of Death, and Salò, or 120 Days of Sodom; Five French Colonial Skinning: Affect and Becoming-Wound in the Cinema of Sensation Trouble Every Day, Sombre, and In My Skin; Conclusion: Drag Performativity and Multisensorial Dread Blood and Black Lace and Psycho; Bibliography; Index

Mario DeGiglio-Bellemare teaches courses in genre cinema, grotesque traditions, cinematic embodiment and monster ethics in the Humanities department at John Abbott College, Canada. He is also an independent filmmaker and the co-director of the Montréal Monstrum Society.

“To reckon with the horror film’s connections to the Grand Guignol theatre is to refigure our understanding of the horror genre. DeGiglio-Bellemare stages this reckoning with the sort of ambition, enthusiasm and a wide range of references that enrich horror studies. This is a stimulating and provocative book”— Adam Lowenstein, author of Horror Film and Otherness, Professor of English and Film/Media Studies, University of Pittsburgh, USA.“This is a terrific book. While horror scholars frequently use the term ‘Grand-Guignol’ as a sort of shorthand – ‘Grand-Guignol effects,’ or ‘Guignol Treatment’ – we haven’t devoted the time and scholarship to fully unpack the Grand-Guignol’s lingering influence and affect in horror cinema. If that were all this book did, that would be enough to make it a necessary addition to the field. But DeGiglio-Bellemare also provides a rich and thick theoretical horror discussion – invoking Bataille, cultural studies, Marx and the rich scholarly history of the field. Well-written and immensely readable, this is a smart, sophisticated, well-conceived book – by a terrific scholar. Belongs on the bookshelf of every horror scholar and horror lover, and definitely belongs on the syllabus” — Joan Hawkins, author of Cutting-Edge: Art-Horror and the Horrific Avant-garde.

• Introduction: Grand-Guignol Cinema and the Senses Eyes Without a Face, Attractions, Affect and Facial Trauma; One The Grand-Guignol Theatre: A Short History of the Theatre and Spatial Ecologies of Dread The Hitch-Hiker and Shivers; Two Grotesque Carnivals of “Stubborn” Aurality: Embodied Discourse in Early Talkie Horror Cinema Murders in the Rue Morgue, Freaks, and The Black Cat; Three The Sight of Corpses in the Ruins of Modernity: Surgical Sadists under Censorship The Body Snatcher, and Mad Love, The Blood of the Beasts; Four Erotic Abattoirs of Bad Taste: Unproductive Potlatch in Exploitation Cinema Fascination, Grapes of Death, and Salò, or 120 Days of Sodom; Five French Colonial Skinning: Affect and Becoming-Wound in the Cinema of Sensation Trouble Every Day, Sombre, and In My Skin; Conclusion: Drag Performativity and Multisensorial Dread Blood and Black Lace and Psycho; Bibliography; Index

Mario DeGiglio-Bellemare teaches courses in genre cinema, grotesque traditions, cinematic embodiment and monster ethics in the Humanities department at John Abbott College, Canada. He is also an independent filmmaker and the co-director of the Montréal Monstrum Society.

“To reckon with the horror film’s connections to the Grand Guignol theatre is to refigure our understanding of the horror genre. DeGiglio-Bellemare stages this reckoning with the sort of ambition, enthusiasm and a wide range of references that enrich horror studies. This is a stimulating and provocative book”— Adam Lowenstein, author of Horror Film and Otherness, Professor of English and Film/Media Studies, University of Pittsburgh, USA.“This is a terrific book. While horror scholars frequently use the term ‘Grand-Guignol’ as a sort of shorthand – ‘Grand-Guignol effects,’ or ‘Guignol Treatment’ – we haven’t devoted the time and scholarship to fully unpack the Grand-Guignol’s lingering influence and affect in horror cinema. If that were all this book did, that would be enough to make it a necessary addition to the field. But DeGiglio-Bellemare also provides a rich and thick theoretical horror discussion – invoking Bataille, cultural studies, Marx and the rich scholarly history of the field. Well-written and immensely readable, this is a smart, sophisticated, well-conceived book – by a terrific scholar. Belongs on the bookshelf of every horror scholar and horror lover, and definitely belongs on the syllabus” — Joan Hawkins, author of Cutting-Edge: Art-Horror and the Horrific Avant-garde.

• Introduction: Grand-Guignol Cinema and the Senses Eyes Without a Face, Attractions, Affect and Facial Trauma; One The Grand-Guignol Theatre: A Short History of the Theatre and Spatial Ecologies of Dread The Hitch-Hiker and Shivers; Two Grotesque Carnivals of “Stubborn” Aurality: Embodied Discourse in Early Talkie Horror Cinema Murders in the Rue Morgue, Freaks, and The Black Cat; Three The Sight of Corpses in the Ruins of Modernity: Surgical Sadists under Censorship The Body Snatcher, and Mad Love, The Blood of the Beasts; Four Erotic Abattoirs of Bad Taste: Unproductive Potlatch in Exploitation Cinema Fascination, Grapes of Death, and Salò, or 120 Days of Sodom; Five French Colonial Skinning: Affect and Becoming-Wound in the Cinema of Sensation Trouble Every Day, Sombre, and In My Skin; Conclusion: Drag Performativity and Multisensorial Dread Blood and Black Lace and Psycho; Bibliography; Index