On Terror With Terror Aesthetic Accept

It is undoubted that recently horror art has flourished as an important source of mass aesthetic stimulation in China. Estheticians seldom think carefully about the phenomenon, however, they have taken horror as an aesthetic category. In this dissertation, by analyzing the paradox of two coexisting emotions - horror and pleasure in aesthetic reaction to horror film and comparing the aesthetic experience of horror art with that of other kinds of art, the author try to acquire a comprehensive knowledge of aesthetic experience of horror art. The discussion is based on some examples of horror movies, which are the most developed subgenre in horror art, under the academic background of Chinese and Western horror aesthetic studies. The main discussion method is from embodiment to abstract, while keeping the unification of history and logic.In Introduction of the text, a crucial question is put forward according to the domestic study status in horror and horror art. Then an explanation is given on why we base our discussion on the examples of horror movies on the premise of defining horror art and horror film. Through analyzing the status quo of the study on the aesthetic reactions of horror art, two problems are brought forward: one is theorists often split a whole aesthetic experience of horror art into several parts, as if each of which could work independently; the other is this kind of aesthetic experiences are usually compared to the experience of tragedy, or framed with existing categories, such as "zhuang mei", sublime, etc., hence, to a certain extent, the specialties of the experience emerging under new social and cultural background are neglected. This text put emotions in a basic and kernel status. According to modern psychology, we took emotions not only as the result of perception, but also as motivations of subjects' perception and behavior. Human being's emotions are aroused and exist in different levels simultaneously. Basing on this recognition of emotion, the dissertation is framed.Chapter one investigated why horror art engenders horror. First, we differentiate two concepts that are mixed together in Chinese treatise: "horror" and "terror". In western treatise, the former has usually been linked to fear triggered by visible gore,...