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Queer Horror
From the beginning, horror has been part of the cinema landscape. Despite some of the earliest genre films with gay directors such as F.W. Murnau (Nosferatu) and James Whale (Frankenstein, The Invisible Man, Bride of Frankenstein), LGBTQIA characters have rarely been portrayed in full view. For decades, filmmakers have included "coded" content in their films with the homosexual experience translated into censor-friendly subtext for consumption by general audiences. Gradually, LGBTQIA characters and themes have moved from the background to the foreground as the horror genre has grown along with its audience's tastes and attitudes. Likewise, more and more LGBTQIA writers and directors have beg...
Queering the South on Screen
"Within the realm of U.S. culture and its construction of its citizenry, geography, and ideology, who are Southerners and who are queers, and what is the South and what is queerness? Queering the South on Screen addresses these questions by examining "the intersections of queerness, regionalism, and identity" depicted in film, television, and other visual media about the South during the twentieth century. From portrayals of slavery to gothic horror films, the contributors show that queer southerners have always expressed desires for distinctiveness in the making and consumption of visual media. Read together, the introduction and twelve chapters deconstruct premeditated labels of identity such as queer and southern. In doing so, they expose the reflexive nature of these labels to construct fantasies based on southerner's self-identification based on what they were not"--
Out in the Dark
Gay men have a long, complicated history with the horror genre. While working behind-the-scenes to create some of the most iconic terrors on film (James Whale's Frankenstein, Bride of Frankenstein and The Invisible Man), they watched themselves portrayed on screen as sinister villains or as 'the best friend who dies first' victims. But in the last 20 years there has been a significant shift in the horror world courtesy of a growing number of out authors, screenwriters, directors and actors working to scare the crap out of you. Out In the Dark: Interviews with Gay Filmmakers, Actors and Authors introduces you to 31 of these men with interviews and insights into their work and their lives. Fro...
Queer Slashers
From Norman Bates dressed as "Mother" in Psycho to the rouged cheeks of Leatherface in The Texas Chainsaw Massacre, many slasher icons have borne traces of queer and gender nonconforming behavior since the subgenre's very beginning. Queer Slashers presents the first book-length study of how and why the slasher subgenre of horror films appeals to queer audiences. In it, Peter Marra constructs a reparative history of the slasher that affirms its queer lineage extending back as early as the 1920s. It also articulates the queer aspects of the slasher formula that forge an unlikely kinship between queer audiences and these retrograde depictions of queer killers. Marra establishes a queer history and function for the slasher, analyzing several key contemporary "queer slashers"–that is, slashers that are made by queer filmmakers–to better understand how queer artists take up the slasher iconography and put it toward modern queer aims. Featuring analysis of films such as John Waters's Serial Mom, Peaches Christ's All About Evil, and Alain Guiraudie's Stranger by the Lake, Queer Slashers illuminates the queer meanings of slashers, their foundations, and their future possibilities.
The Werewolf Filmography
From the horrific to the heroic, cinematic werewolves are metaphors for our savage nature, symbolizing the secret, bestial side of humanity that hides beneath our civilized veneer. Examining acknowledged classics like The Wolf Man (1941) and The Howling (1981), as well as overlooked gems like Dog Soldiers (2011), this comprehensive filmography covers the highs and lows of the genre. Information is provided on production, cast and filmmakers, along with critical discussion of the tropes and underlying themes that make the werewolf a terrifying but fascinating figure.
Queering the Non/Human
What might it mean to queer the Human? By extension, how is the Human employed within queer theory? These questions invite a reconsideration of the way we think about queer theory, the category of the Human and the act of queering itself. This interdisciplinary volume of essays gathers together essays by international pioneering scholars in queer theory, critical theory, cultural studies and science studies who have written on topics as diverse as Christ, the Antichrist, dogs, starfish, werewolves, vampires, murderous dolls, cartoons, corpses, bacteria, nanoengineering, biomesis, the incest taboo, the death drive and the 'queer' in queer theory. Contributors include Robert Azzarello, Karen Barad, Phillip A. Bernhardt-House, Jeffrey Jerome Cohen, Claire Colebrook, Noreen Giffney, Judith Halberstam, Donna J. Haraway, Eva Hayward, Myra J. Hird, Karalyn Kendall, Vicki Kirby, Alice Kuzniar, Patricia MacCormack, Robert Mills, Luciana Parisi and Erin Runions.
Cinesexuality
Cinesexuality explores the queerness of cinema spectatorship, arguing that cinema spectatorship represents a unique encounter of desire, pleasure and perversion beyond dialectics of subject/object and image/meaning; an extraordinary 'cinesexual' relationship, that encompasses each event of cinema spectatorship in excess of gender, hetero- or homosexuality, encouraging all spectators to challenge traditional notions of what elicits pleasure and constitutes desiring subjectivity. Through a variety of cinematic examples, including abstract film, extreme films and films which present perverse sexuality and corporeal reconfiguration, Cinesexuality encourages a radical shift to spectatorship as it...
How to Make Movies
The success of low-budget independent films like The Blair Witch Project and Paranormal Activity have clearly demonstrated that successful movies can be made with very small budgets. Still, working on a tight budget requires both skill and ingenuity, and is an inevitable and continuous learning experience for the filmmaker. Join two dozen truly independent filmmakers--those used to working, and delivering, within extreme limitations--as they bluntly chronicle their experiences creating features "from the trenches." They cover the major stages of the filmmaking process, from financing, technical decisions, and handling actors and crew to music, production, and distribution. With loads of practical advice, actual case studies, and many behind-the-scenes photographs, this collection of war stories from the micro-budget front lines will benefit aspiring and experienced independent filmmakers alike.
Coming Home to Me This Christmas
Another delightful feel-good Christmas romance from CP Ward. Looking for someone to save Christmas. Asking for a friend. Struggling to cope with the death of the grandmother who raised her, Emily Wilson finds herself in the tiny Devonshire village of Cottonwood, hoping to escape from both her grief and her responsibilities. Cottonwood, however, is under the control of a mysterious but powerful recluse determined to prevent Christmas at any cost. Channelling her grandmother’s never-say-die attitude, Emily takes on the challenge of restoring Christmas to Cottonwood with an onslaught of mince pies, bad karaoke, and Christmas illuminations. Handsome but elusive Nathaniel Trower, however, has other ideas… From the author of I’m Glad I Found You This Christmas and We’ll have a Wonderful Cornish Christmas comes another heartwarming tale for the holiday season.
The Book of the Undead A Zombie Film Guide
A comprehensive film guide featuring films about zombies, the undead and other such creatures of the dead.
