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Bloody Women
Bloody Women traces changing gender dynamics in the horror film industry to explore how women have played a crucial role in defining the genre of horror understood as a scholarly discipline, cultural institution, and site of pleasure. While acknowledging that women in the industry face ongoing challenges, this book focuses on their diverse contributions as creators, consumers, and critics of horror, showing how women have been essential in shaping the goals and methods of the genre. Aimed at both scholarly and general readers, the chapters bring together the expertise of filmmakers, festival programmers, and scholars to argue that women have effected a reimagining of horror. To this end, the...
The Best Horror of the Year
From Ellen Datlow (“the venerable queen of horror anthologies” (New York Times) comes a new entry in the series that has brought you stories from Stephen King and Neil Gaiman comes thrilling stories, the best horror stories available. For more than four decades, Ellen Datlow has been at the center of horror. Bringing you the most frightening and terrifying stories, Datlow always has her finger on the pulse of what horror readers crave. Now, with the thirteenth volume of the series, Datlow is back again to bring you the stories that will keep you up at night. Encompassed in the pages of The Best Horror of the Year have been such illustrious writers as: Neil Gaiman, Stephen King, Stephen Graham Jones, Joyce Carol Oates, Laird Barron, Mira Grant, and many others. With each passing year, science, technology, and the march of time shine light into the craggy corners of the universe, making the fears of an earlier generation seem quaint. But this light creates its own shadows. The Best Horror of the Year chronicles these shifting shadows. It is a catalog of terror, fear, and unpleasantness as articulated by today’s most challenging and exciting writers.
The Cinema Coven
Witches and witchcraft are potent metaphors for feminine power, with a history that predates the advent of cinema. The figure of the witch represents a particularly fraught, contested kind of gendered power, and has long inspired filmmakers to explore themes of race, class, trauma, motherhood, grief, and identity. This book examines the relationship between women, witchcraft, and filmmaking, exploring types of storytelling and the central themes in these movies. Such films span the globe and have starred prominent figures like Madonna, Bette Midler, Bjork, and Nicole Kidman, as well as lesser-known women behind the scenes. Some of these filmmakers have premiered their works at major film festivals, while others have produced content for television and video releases. While notable in their diversity, these movies share one crucial thing: they were all created by women in an industry broadly dominated by men.
Dark Carnivals
The panoramic story of how the horror genre transformed into one of the most incisive critiques of unchecked American imperial power The American empire emerged from the shadows of World War II. As the nation’s influence swept the globe with near impunity, a host of evil forces followed—from racism, exploitation, and military invasion to killer clowns, flying saucers, and monsters borne of a fear of the other. By viewing American imperial history through the prism of the horror genre, Dark Carnivals lays bare how the genre shaped us, distracted us, and gave form to a violence as American as apple pie. A carnival ride that connects the mushroom clouds of 1945 to the beaches of Amity Island, Charles Manson to the massacre at My Lai, and John Wayne to John Wayne Gacy, the new book by acclaimed historian W. Scott Poole reveals how horror films and fictions have followed the course of America’s military and cultural empire and explores how the shadow of our national sins can take on the form of mass entertainment.
Monstrous Forms
It makes us jump. It makes us scream. It haunts our nightmares. So why do we watch horror? Why do we play it? What could possibly appealing about a genre that tries to terrify us? Why would we subject ourselves to shriek-inducing shocks, or spend dozens of hours watching a television show about grotesque flesh-eating monsters? Monstrous Forms offers a theory of horror that works through the genre across a broad range of contemporary moving-image media: film, television, video games, YouTube, gifs, streaming, virtual reality. This book analyzes our experience of and engagement with horror by focusing on its form, paying special attention to the common ground, the styles and forms that move be...
Catholic Horror and Rhetorical Dialectics
Identifying an important subgenre of horror literature, this book argues that Catholic horror fiction works distinctively to inspire the philosophical, theological, and spiritual imaginations of readers from all backgrounds and faith traditions. Hurley analyzes four novels that are foundational to the genre of Catholic horror: J.K. Huysmans’s Là-Bas (1891), Robert Hugh Benson’s The Light Invisible (1903) and A Mirror of Shalott (1907), and William Peter Blatty’s The Exorcist (1971). Putting these texts in conversation with the classical liberal arts, the book shows how Catholic horror fiction coheres in a commitment to dialectical thinking that aims both to resolve—and to accommodate—contrasting world views. Given its use of this methodology, Catholic horror literature is uniquely positioned to draw readers into a contemplative mindset. In presenting ghost stories, tales of possession, and narratives about evil, Catholic horror invites audiences to confront and reflect on profound existential questions—questions about the line between life and death, the nature of being, and the meaning of reality.
Youth Horror Television and the Question of Fear
Focusing on programs from the 1970s to the early 2000s, this volume explores televised youth horror as a distinctive genre that affords children productive experiences of fear. Led by intrepid teenage investigators and storytellers, series such as Scooby-Doo! Mystery Incorporated and Are You Afraid of the Dark? show how young people can effectively confront the terrifying, alienating, and disruptive aspects of human existence. The contributors analyze how televised youth horror is uniquely positioned to encourage young viewers to interrogate—and often reimagine—constructs of normativity. Approaching the home as a particularly dynamic viewing space for young audiences, this book attests to the power of televised horror as a domain that enables children to explore larger questions about justice, human identity, and the preconceptions of the adult world.
Women Make Horror
Winner of the the 2021 Best Edited Collection Award from BAFTSS Winner of the 2021 British Fantasy Award in Best Non-Fiction Finalist for the 2020 Bram Stoker Award® for Superior Achievement in Non-Fiction Runner-Up for Book of the Year in the 19th Annual Rondo Halton Classic Horror Awards “But women were never out there making horror films, that’s why they are not written about – you can’t include what doesn’t exist.” “Women are just not that interested in making horror films.” This is what you get when you are a woman working in horror, whether as a writer, academic, festival programmer, or filmmaker. These assumptions are based on decades of flawed scholarly, cri...
Transnationalism and Genre Hybridity in New British Horror Cinema
This book takes British horror films of the 2000s as a case study to theorise transnational genre hybridity, which combines genres from different national cinemas.
I Spit On Your Celluloid
Slumber Party Massacre. Pet Sematary. Near Dark. American Psycho... These horror movies have heavily contributed to pop culture and are loved by horror fans everywhere. But so many others have been forgotten by history. From the first silent reels to modern independent films, in this book you’ll discover the creepy, horrible, grotesque, beautiful, wrong, good, and fantastic — and the one thing they share in common. This is the true history of women directing horror movies. Having conducted hundreds of interviews and watched thousands of horror films, Heidi Honeycutt defines the political and cultural forces that shape the way modern horror movies are made by women. The women’s rights a...
