What do you think?
Rate this book
Theology of Horror: The Hidden Depths of Popular Films
Theology of Horror explores the dark reaches of popular horror films, bringing to light their implicit theological and philosophical themes.
Horror films scare and entertain us, but there’s more to be found in their narratives than simple thrills. Within their shadows, an attentive viewer can glimpse unexpected flashes of orthodox Christian belief. In Theology of Horror, Ryan G. Duns, SJ, invites readers to undertake an unconventional pilgrimage in search of these buried theological insights.
Duns uses fifteen contemporary horror films—including The Blair Witch Project, A Nightmare on Elm Street, Candyman, and The Texas Chain Saw Massacre—as doorways to deeper reflection. Each chapter focuses on a single film, teasing out its implicit philosophical and theological themes. As the reader journeys through the text, a surprisingly robust theological worldview begins to take shape as glimmers of divine light emerge from the darkness. Engaging and accessible, Theology of Horror proves that rather than being the domain of nihilists or atheists, the horror film genre can be an opportunity for reflecting on “things visible and invisible,” as Christians profess in the Nicene Creed.
Horror films scare and entertain us, but there’s more to be found in their narratives than simple thrills. Within their shadows, an attentive viewer can glimpse unexpected flashes of orthodox Christian belief. In Theology of Horror, Ryan G. Duns, SJ, invites readers to undertake an unconventional pilgrimage in search of these buried theological insights.
Duns uses fifteen contemporary horror films—including The Blair Witch Project, A Nightmare on Elm Street, Candyman, and The Texas Chain Saw Massacre—as doorways to deeper reflection. Each chapter focuses on a single film, teasing out its implicit philosophical and theological themes. As the reader journeys through the text, a surprisingly robust theological worldview begins to take shape as glimmers of divine light emerge from the darkness. Engaging and accessible, Theology of Horror proves that rather than being the domain of nihilists or atheists, the horror film genre can be an opportunity for reflecting on “things visible and invisible,” as Christians profess in the Nicene Creed.
- GenresNonfictionHorrorHistory
344 pages, Hardcover
First published October 15, 2024
6 people are currently reading
2846 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 6 of 6 reviews
November 2, 2025
Amazing. Unexpected. Rich. Challenging.
Yes, on one level Duns has written a profound theological exploration of horror for horror fans. On another level Duns has written a profound theological exploration for those interested in theology. He writes as a Catholic, and for that matter a Catholic who happens to have a great affection for the horror genre, and astute readers will note that specific theological vantage point with its strong emphasis on Aquinas. But this is indeed part of the power of that Tradition. There is a willingness to bring in that strong relationship between philosophy, theology and the sciences at large, seeing it as an inttegrated and interconnected discussion.
At its heart this is a book about knowing. And not just about knowledge, but about how it is that we know. There is a flow to the chaptes, each one adding a layer to a building theological framework, and the essential push and pull is this driving awareness that we begin with embodied practice but we move towards that metaphysical interest. To embody physical and material existence is in fact to become aware of that which is outside of ourselves. Mystery here is not a gap between the science we know and the science we do not yet know. In fact, that approach, the very mark of modernism, expressely cuts us off from the human experience. Indeed, as he notes about horror, mystery seeks to unsettle us precisely because we can observe it to be an essential part of the created order, and indeed of being human. We cannot act or live apart from the essential mystery that existence appears to be drawn towards.
In other words, there is no categorizing between different kinds of knowledge. Embodied life (functionl and utilitarian and material realiaties) do not make sense without that metaphysical concern and vice versa.
Each chapter here is built around a specific horror film of choice, saving the greatest for last (the Exorcist) in true Catholic fashion. Within that, each chapter ties together its own specific theological insight, beginning with mystery (we are made by mystery for mystery), moving through the tension of the horror or the now and the desire for the Creative other to the essential narrative of the incarnation (death and resurrection), all the way to new creation. (renewing a world shattered by the frag-event of sin). Here he borrows from the cinematic language of fragments, using it as a lens through which to see and to participate in the world. Both the horror and the Good.
In case its not clear, as a horror fan and as someone who loves theology, especially where it brings life to that intersection of disciplines, this book was made for me.
Yes, on one level Duns has written a profound theological exploration of horror for horror fans. On another level Duns has written a profound theological exploration for those interested in theology. He writes as a Catholic, and for that matter a Catholic who happens to have a great affection for the horror genre, and astute readers will note that specific theological vantage point with its strong emphasis on Aquinas. But this is indeed part of the power of that Tradition. There is a willingness to bring in that strong relationship between philosophy, theology and the sciences at large, seeing it as an inttegrated and interconnected discussion.
At its heart this is a book about knowing. And not just about knowledge, but about how it is that we know. There is a flow to the chaptes, each one adding a layer to a building theological framework, and the essential push and pull is this driving awareness that we begin with embodied practice but we move towards that metaphysical interest. To embody physical and material existence is in fact to become aware of that which is outside of ourselves. Mystery here is not a gap between the science we know and the science we do not yet know. In fact, that approach, the very mark of modernism, expressely cuts us off from the human experience. Indeed, as he notes about horror, mystery seeks to unsettle us precisely because we can observe it to be an essential part of the created order, and indeed of being human. We cannot act or live apart from the essential mystery that existence appears to be drawn towards.
In other words, there is no categorizing between different kinds of knowledge. Embodied life (functionl and utilitarian and material realiaties) do not make sense without that metaphysical concern and vice versa.
Each chapter here is built around a specific horror film of choice, saving the greatest for last (the Exorcist) in true Catholic fashion. Within that, each chapter ties together its own specific theological insight, beginning with mystery (we are made by mystery for mystery), moving through the tension of the horror or the now and the desire for the Creative other to the essential narrative of the incarnation (death and resurrection), all the way to new creation. (renewing a world shattered by the frag-event of sin). Here he borrows from the cinematic language of fragments, using it as a lens through which to see and to participate in the world. Both the horror and the Good.
In case its not clear, as a horror fan and as someone who loves theology, especially where it brings life to that intersection of disciplines, this book was made for me.
June 10, 2025
This book was not what I expected, however I was warned of this while reading the intro in which the author elucidates his imagined audience of college students in a semester course on theology of horror. And I should have been expecting that considering I originally found this book while looking through the Notre Dame University Press catalog.
That being said, it was an interesting book (alas rather dry as one might expect from a college textbook type book written by a Jesuit Priest-Professor, who does exhibit he has a sense of humor by some turns of phrase) -more like a Christian Philosophy of Horror with theology aspects versus a horror and how we should then live or something of that nature. One doesn’t have to agree (for instance he mentions briefly in passing the Noah’s Ark story being myth-not exactly clearly whether he or what he was quoting thought that-which of course is not myth) with the author to admit this book at least caused one to think longer than one might otherwise on the various subjects.
If you are a fan of horror genre this might be interesting to read, and short chapters (each discussing different movies of the genre) means don’t have to read it all at once.
That being said, it was an interesting book (alas rather dry as one might expect from a college textbook type book written by a Jesuit Priest-Professor, who does exhibit he has a sense of humor by some turns of phrase) -more like a Christian Philosophy of Horror with theology aspects versus a horror and how we should then live or something of that nature. One doesn’t have to agree (for instance he mentions briefly in passing the Noah’s Ark story being myth-not exactly clearly whether he or what he was quoting thought that-which of course is not myth) with the author to admit this book at least caused one to think longer than one might otherwise on the various subjects.
If you are a fan of horror genre this might be interesting to read, and short chapters (each discussing different movies of the genre) means don’t have to read it all at once.
September 4, 2025
A clear study free of jargon. The author is patient and good-humored. His picks are horror films to discuss are not the ones I am most interested in, but his essays on each are detailed and enriching.
Key Terms and Definitions from Theology of Horror:
Absolutizing Instinct
A term for the human tendency to focus obsessively on a single part of reality—such as a past sin or a flaw—and treat it as if it were the absolute whole, leading to a loss of perspective and despair.
Agere Sequitur Esse
A scholastic axiom in Latin that translates to "to act follows to be." It expresses the principle that an entity's actions flow from, and thus reveal, its nature and essence.
Apocalypse
A term derived from the Greek word apokalypsis, meaning "revelation." In biblical literature, it refers to a revelation of the end of the current world order, not necessarily the end of the world itself, and often carries a tone of hope and divine justice.
Compassio Essendi
A concept developed by William Desmond meaning "undergoing being together." It describes the intimate, shared experience of all created beings, united by their common origin and sustenance in a creative act of divine love.
Confirmation Clash
A specific stage in a horror narrative where the evidence for a monstrous presence, discovered by one or more characters, is met with resistance by others who are committed to a different, more conventional worldview. The central conflict involves the struggle to confirm the existence of the monster and the threat it poses.
Dark Transcendent
The author's central term for the monstrous or supernatural force in horror films. It is a presence whose incursion destabilizes the known world and acts as a malevolent, destructive "photographic negative" of the Divine Transcendent.
Discernment
A spiritual practice, particularly in the Ignatian tradition, focused on distinguishing between the movements of the good spirit and the evil spirit within one's life. It involves three steps: becoming aware, understanding, and taking action.
Dionysus vs. the Crucified
An antithesis formulated by Friedrich Nietzsche, contrasting the mythological figure of Dionysus, who represents a cycle of eternal violence, destruction, and a relentless "will to annihilation," with the Crucified Christ, who represents a way of life that breaks the cycle of violence and offers peace and redemption.
Eucatastrophe
A term coined by J.R.R. Tolkien for a sudden, joyous turn of events that provides a glimpse of a different, more hopeful reality. It is a moment of grace that offers a "transcendent gleam of hope" without erasing the prior suffering.
Frag-event
A term from David Tracy, adapted for the study of horror. It refers to a powerful event or "fragment" that shatters a closed system or worldview, creating an opening to an infinite, transcendent reality. In horror, it is the climactic moment of breakdown that reveals a deeper, often terrifying, truth about the world.
Fides Qua/Fides Quae
A theological distinction between the subjective, personal "act of faith" (fides qua) and the objective, communal "content of faith" (fides quae) that provides the structure and meaning for belief.
Hylomorphism
A metaphysical view, rooted in the philosophy of Aristotle and Thomas Aquinas, that describes living beings as a composite of matter (hyle) and form (morphe). The soul is understood as the form that animates, gives life, and unifies the body.
Infernal Icon
A horror film or image that functions similarly to a theological icon by revealing a deeper level of reality. However, instead of being saturated with divine light, it reveals a world steeped in the presence of the Dark Transcendent, often as a parody of orthodox Christian belief.
Metaphysics
The branch of philosophy concerned with the fundamental nature of reality, asking questions such as "what is being?" and "why is there something rather than nothing?".
Metataxis
A concept from Douglas Cowan describing the disruption of an established order (taxis) by an invading, unseen force. This disruption precipitates a breakdown of normality and an incursion into the known world, which is a core mechanism of horror.
Monstrous Mystagogy
A process of initiation, or "leading to the secrets" (mystagogy), that draws a character or audience into a horrifying reality. This process, as seen in a film like Candyman, often involves becoming a victim or a perpetrator within a cycle of violence and suffering.
Mysterium Iniquitatis
A Latin term meaning "the mystery of evil." It refers to the theological belief that evil is not merely the result of human choice but an incomprehensible force that defies rational explanation and is at work in history.
Passio Caritatis
The "passion of charity," a concept that describes an encounter with God's love that is so profound it leads to a total act of self-gift for the sake of others, a love that mirrors the sacrifice of Christ.
Passio Essendi
A term from William Desmond meaning "the undergoing of being." It is the passive reception of one's existence as a gift from a creative source. This reception makes all beings fundamentally porous and interconnected.
Privation Theory of Evil
A theological position, rooted in St. Augustine and St. Thomas Aquinas, which holds that evil is not a positive substance or a being in itself but rather the absence, lack, or negation of a "due good" that ought to be present.
Sociophobics
A term for the culturally and historically specific fears that are exploited in horror films. These are fears that emerge from and are reinforced by the "sociocultural systems humans have created".
Theology
The intellectual and spiritual discipline of discerning and responding to how God has revealed the divine self in history.
Vorgriff
A term from Karl Rahner that describes the ceaseless, dynamic striving of human consciousness. It is a "pre-grasping" that orients the human mind toward the infinite horizon of being, which cannot be satisfied by any finite object.
Key Terms and Definitions from Theology of Horror:
Absolutizing Instinct
A term for the human tendency to focus obsessively on a single part of reality—such as a past sin or a flaw—and treat it as if it were the absolute whole, leading to a loss of perspective and despair.
Agere Sequitur Esse
A scholastic axiom in Latin that translates to "to act follows to be." It expresses the principle that an entity's actions flow from, and thus reveal, its nature and essence.
Apocalypse
A term derived from the Greek word apokalypsis, meaning "revelation." In biblical literature, it refers to a revelation of the end of the current world order, not necessarily the end of the world itself, and often carries a tone of hope and divine justice.
Compassio Essendi
A concept developed by William Desmond meaning "undergoing being together." It describes the intimate, shared experience of all created beings, united by their common origin and sustenance in a creative act of divine love.
Confirmation Clash
A specific stage in a horror narrative where the evidence for a monstrous presence, discovered by one or more characters, is met with resistance by others who are committed to a different, more conventional worldview. The central conflict involves the struggle to confirm the existence of the monster and the threat it poses.
Dark Transcendent
The author's central term for the monstrous or supernatural force in horror films. It is a presence whose incursion destabilizes the known world and acts as a malevolent, destructive "photographic negative" of the Divine Transcendent.
Discernment
A spiritual practice, particularly in the Ignatian tradition, focused on distinguishing between the movements of the good spirit and the evil spirit within one's life. It involves three steps: becoming aware, understanding, and taking action.
Dionysus vs. the Crucified
An antithesis formulated by Friedrich Nietzsche, contrasting the mythological figure of Dionysus, who represents a cycle of eternal violence, destruction, and a relentless "will to annihilation," with the Crucified Christ, who represents a way of life that breaks the cycle of violence and offers peace and redemption.
Eucatastrophe
A term coined by J.R.R. Tolkien for a sudden, joyous turn of events that provides a glimpse of a different, more hopeful reality. It is a moment of grace that offers a "transcendent gleam of hope" without erasing the prior suffering.
Frag-event
A term from David Tracy, adapted for the study of horror. It refers to a powerful event or "fragment" that shatters a closed system or worldview, creating an opening to an infinite, transcendent reality. In horror, it is the climactic moment of breakdown that reveals a deeper, often terrifying, truth about the world.
Fides Qua/Fides Quae
A theological distinction between the subjective, personal "act of faith" (fides qua) and the objective, communal "content of faith" (fides quae) that provides the structure and meaning for belief.
Hylomorphism
A metaphysical view, rooted in the philosophy of Aristotle and Thomas Aquinas, that describes living beings as a composite of matter (hyle) and form (morphe). The soul is understood as the form that animates, gives life, and unifies the body.
Infernal Icon
A horror film or image that functions similarly to a theological icon by revealing a deeper level of reality. However, instead of being saturated with divine light, it reveals a world steeped in the presence of the Dark Transcendent, often as a parody of orthodox Christian belief.
Metaphysics
The branch of philosophy concerned with the fundamental nature of reality, asking questions such as "what is being?" and "why is there something rather than nothing?".
Metataxis
A concept from Douglas Cowan describing the disruption of an established order (taxis) by an invading, unseen force. This disruption precipitates a breakdown of normality and an incursion into the known world, which is a core mechanism of horror.
Monstrous Mystagogy
A process of initiation, or "leading to the secrets" (mystagogy), that draws a character or audience into a horrifying reality. This process, as seen in a film like Candyman, often involves becoming a victim or a perpetrator within a cycle of violence and suffering.
Mysterium Iniquitatis
A Latin term meaning "the mystery of evil." It refers to the theological belief that evil is not merely the result of human choice but an incomprehensible force that defies rational explanation and is at work in history.
Passio Caritatis
The "passion of charity," a concept that describes an encounter with God's love that is so profound it leads to a total act of self-gift for the sake of others, a love that mirrors the sacrifice of Christ.
Passio Essendi
A term from William Desmond meaning "the undergoing of being." It is the passive reception of one's existence as a gift from a creative source. This reception makes all beings fundamentally porous and interconnected.
Privation Theory of Evil
A theological position, rooted in St. Augustine and St. Thomas Aquinas, which holds that evil is not a positive substance or a being in itself but rather the absence, lack, or negation of a "due good" that ought to be present.
Sociophobics
A term for the culturally and historically specific fears that are exploited in horror films. These are fears that emerge from and are reinforced by the "sociocultural systems humans have created".
Theology
The intellectual and spiritual discipline of discerning and responding to how God has revealed the divine self in history.
Vorgriff
A term from Karl Rahner that describes the ceaseless, dynamic striving of human consciousness. It is a "pre-grasping" that orients the human mind toward the infinite horizon of being, which cannot be satisfied by any finite object.
October 19, 2024
What makes this book compelling is that its thesis makes a bold claim about the reader. Furthermore, this claim is well-supported with supplemental theology and Thomistic metaphysics, which is excellent for the reader who finds themselves in self-reflection. It is far from ordinary in both its topic and its approach, but the ordinary seldom leaves behind a spiritual footprint. The potential of this work to be immeasurably impactful can not be overstated.
October 5, 2024
Oh! This book tickled all my iggly bits in the best possible way. Do you have a clandestine weakness for complex philosophical questions? A hidden addiction to theological alleyways and shadowy existential barstools? Is all this inextricably tangled with a fondness for the monsters and mysteries of literature and film and nightmare? You might have to hide the cover of this book if you want to keep your secrets hidden, but don't hesitate to feed your hunger with this most delightful of feasts. THEOLOGY OF HORROR is no dainty morsel: even taken a chapter at a time, it fills up the belly of the mind even as it excites further hunger. There were certainly points on which I took great issue with the author, but that does no disservice to the text: Duns invites and even demands dialogue and engagement with the material in ways that will continue to challenge and yes, console, the reader long after the last page is read. A monstrously delectable meal.
August 8, 2025
While I am not religious, I did find this book to be an interesting take on the horror genre. I like how Duns was able to connect theology to movies that seemingly have nothing to do with it like The Texas Chainsaw Massacre. I would like for him to write a sequel that explores other films. Give me a hot take about Saw and I am all yours.
Displaying 1 - 6 of 6 reviews