Description
Book SynopsisThe horror genre will always remain current because it reflects our anxieties, shining a light onto our worst fears whilst creating worlds defined by darkness. Horror as a genre has always engaged with era-specific societal mores and moral panics, often about isolation or abandonment, changing family values and the role of women. It is often specifically about how gender is constructed in everyday life. Women are commonly defined in horror by their passivity, or monstrosity/sexuality or victimhood - or a mix of the three. At the same time women in horror are forced into psychological and physical torture ending in violent showdowns in which they emerge damaged but triumphant. Bringing together research from a wide range of established and emerging scholars this edited collection provides an insight into how modern horror films portray femininities, sexualities, masculinities, ageing, and other current issues, exploring the use of vampires, zombies, werewolves and ghosts in films made internationally. This volume, one of three by the same editorial team examining the horror genre, focuses on gender and contemporary horror in film, asking questions about how and if representations of gender in horror have changed. In these readings and re-readings, the authors examine developments in films about vampires, zombies, werewolves and ghosts, in films made internationally.
Trade ReviewThis work for students and fans looks at gender, especially the roles and meanings of women, in contemporary horror films, covering both American and international films. Thematic sections on bodies, boundaries, and captivity consider women as victims, monsters, hypersexual, and even cannibals. Many contributors draw on the ideas of film scholar Carol J. Clover. Works discussed include Bubba Ho-Tep, Game of Werewolves, What Lies Beneath, and the Resident Evil films. Some topics considered are gay porn horror parodies, Turkish horror cinema, Latin American abduction horror films, and depictions of black masculinity in Get Out. -- Annotation ©2019 * (protoview.com) *
Table of ContentsIntroduction;
Samantha HollandSection One: Bodies 1. La Fille Final - The Final Girl in Contemporary French Horror Cinema;
Maddison McGilivray 2. The Aged Male Hero: Masculinity in Bubba Ho-Tep and Late Phases;
Fernando G.P. Berns & Diego Foronda 3. Game of Werewolves - XXI Century Spanish Werewolves and Conflicts of Masculinity;
Irene Baena-Cuder 4. Navigating the mind/body divide: The Female Cannibal in French Films;
Kath Dooley 5. Gendering the Cannibal in the Post-Feminist Age;
Louise Flockhart Section Two: Boundaries 6. Technology, Social Media and (Self) Surveillance in Horror Films;
Hannah Bonner 7. Gay Porn Horror Parodies;
Joseph Brennan 8. "In Celebration of her Wickedness?" - Critical Intertextuality and the Female Vampire in Byzantium;
Matthew Denny 9. "There's a ghost in my house." The Female Gothic and Supernatural Horror in Twenty First Century Cinema;
Frances A. Kamm 10. The Monstrous-feminine and Masculinity as Abjection in Turkish Horror Cinema: An Analysis of
Haunted (
Musallat, Alper Mestçi, 2007);
Zeynep Koçer Section Three: Captivity 11. Gender Ideology, New Social Realities and New Technologies in recent Latin America 'Abduction' horror films;
Niall Brennan 12. Misogyny or Commentary: Gendered Violence Outside and Inside Captivity;
Shellie McMurdo & Wickham Clayton 13. "That homicidal bitch may be our only way out of here." Milla Jovovich and Alice in the Resident Evil Films;
Steven Gerrard 14. The Final Girls (2015) as a Video Essay: A Metalinguistic Play with Genre and Gender Conventions;
Emilio Audissino 15. Dissecting Depictions of Black Masculinities in Twenty First Century Horror;
Frances Sobande
