Pub Date : 2019-03-19DOI: 10.1108/978-1-78769-897-020191013
S. McMurdo, W. Clayton
Roland Joffe, the film-maker behind the significant critical hits The Killing Fields (1984) and The Mission (1986), employed a hypnotic aesthetic, which unflinchingly depicted violence and brutality within different cultural contexts. In 2007, he used a no less impressive aesthetic in a similar way, although this film, Captivity, was met with public outcry, including from self-proclaimed feminist film-maker Joss Whedon. This was based upon the depiction, in advertisements, of gendered violence in the popularly termed ‘torture porn’ subgenre, which itself has negative gendered connotations. We aim to revisit the critical reception of Captivity in light of this public controversy, looking at the gendered tensions within considerations of genre, narration and aesthetics. Critics assumed Captivity was an attempt to capitalize on the popularity of the torture horror subgenre, and there is evidence that the film-makers inserted scenes of gore throughout the narrative to encourage this affiliation. However, this chapter will consider how the film works as both an example of post-peak torture horror and an interesting precursor to more overtly feminist horror, such as A Girl Walks Home Alone at Night (2014) and Raw (2017). This is seen through the aesthetic and narrative centralizing of a knowing conflict between genders, which, while not entirely successful, does uniquely aim to provide commentary on the gender roles which genre criticism of horror has long considered implicit to the genre’s structures and pleasures.
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Pub Date : 2019-03-13DOI: 10.1108/978-1-78769-897-020191016
Francesca Sobande
Jordan Peele’s critically acclaimed directorial debut Get Out (2017) highlights the issues regarding racism and Black identity that have seldom been the subject of horror film. More specifically, Get Out offers representations of Black masculinity that push against the stereotypical and reductive ways that Black men have often been depicted in horror cinema. The portrayal of Black men in Get Out takes shape in ways influenced by a range of relationships featured in the film. Amongst these is the dynamic between the leading character Chris (Daniel Kaluuya) and his white girlfriend Rose (Allison Williams), in addition to Chris’s interactions with Rose’s mother Missy (Catherine Keener), as well as his best friend Rod (Lil Rel Howery). As such, scrutiny of Get Out yields insight into the construction of Black masculinity in horror film, including how on-screen inter- and intra-racial relations are implicated in this. The writing that follows focuses on how Get Out offers complex and scarcely featured representations of Black masculinity, and boyhood, in horror. As part of such discussion, there is analysis of the entanglements of on-screen gender and racial politics, which contribute to the nuances of depictions of Black masculinity in Get Out.
{"title":"Dissecting Depictions of Black Masculinity inGet Out","authors":"Francesca Sobande","doi":"10.1108/978-1-78769-897-020191016","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191016","url":null,"abstract":"Jordan Peele’s critically acclaimed directorial debut Get Out (2017) highlights the issues regarding racism and Black identity that have seldom been the subject of horror film. More specifically, Get Out offers representations of Black masculinity that push against the stereotypical and reductive ways that Black men have often been depicted in horror cinema. The portrayal of Black men in Get Out takes shape in ways influenced by a range of relationships featured in the film. Amongst these is the dynamic between the leading character Chris (Daniel Kaluuya) and his white girlfriend Rose (Allison Williams), in addition to Chris’s interactions with Rose’s mother Missy (Catherine Keener), as well as his best friend Rod (Lil Rel Howery). As such, scrutiny of Get Out yields insight into the construction of Black masculinity in horror film, including how on-screen inter- and intra-racial relations are implicated in this. The writing that follows focuses on how Get Out offers complex and scarcely featured representations of Black masculinity, and boyhood, in horror. As part of such discussion, there is analysis of the entanglements of on-screen gender and racial politics, which contribute to the nuances of depictions of Black masculinity in Get Out.","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123879998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-13DOI: 10.1108/978-1-78769-897-020191011
Z. Koçer
Abstract Since 2004, Turkish cinema has been witnessing an emergence of horror genre, now flooded with stories of possession by malevolent jinn, as transgressive, volatile figures of abjection. These female-centred narratives rely both on Islamic cosmology and myths and folktales of pre-Islamic Anatolian oral culture. The chapter will first explore the reasons horror has been neglected in the century-long history of cinema in Turkey and move on to highlight the socio-economic, cultural, and political contexts that were catalysts for the horror genre’s emergence. Then, the chapter will discuss the codes and conventions of the genre and explore the unique place of Alper Mestci’s 2007 film Haunted (Musallat), among its contemporaries in terms of the ways in which the film challenges these established codes and conventions. In analysing Haunted, the chapter will use the theoretical framework of Barbara Creed, Carol J. Clover and Julia Kristeva to discuss the monstrous-feminine and masculinity as abjection.
{"title":"The Monstrous-feminine and Masculinity as Abjection in Turkish Horror Cinema: An Analysis of Haunted (Musallat, Alper Mestçi, 2007)","authors":"Z. Koçer","doi":"10.1108/978-1-78769-897-020191011","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191011","url":null,"abstract":"Abstract \u0000Since 2004, Turkish cinema has been witnessing an emergence of horror genre, now flooded with stories of possession by malevolent jinn, as transgressive, volatile figures of abjection. These female-centred narratives rely both on Islamic cosmology and myths and folktales of pre-Islamic Anatolian oral culture. The chapter will first explore the reasons horror has been neglected in the century-long history of cinema in Turkey and move on to highlight the socio-economic, cultural, and political contexts that were catalysts for the horror genre’s emergence. Then, the chapter will discuss the codes and conventions of the genre and explore the unique place of Alper Mestci’s 2007 film Haunted (Musallat), among its contemporaries in terms of the ways in which the film challenges these established codes and conventions. In analysing Haunted, the chapter will use the theoretical framework of Barbara Creed, Carol J. Clover and Julia Kristeva to discuss the monstrous-feminine and masculinity as abjection.","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122989962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-13DOI: 10.1108/978-1-78769-897-020191005
K. Dooley
Abstract Grave (English title: Raw), the 2016 feature film debut from French writer/director Julia Ducournau, is a body horror that explores cannibalism in a contemporary setting. A vegetarian student, Justine, develops cannibalistic desires after she is forced to eat rabbit kidneys in a hazing ritual at a veterinarian school. This film portrays the female cannibal as having lost control of her bodily impulses. Justine displays a loss of cognition that results in involuntary actions when confronted with raw flesh. One can observe parallels in this portrayal and that featured in earlier films Dans ma peau (In my Skin, 2002, dir. Marina de Van) and Trouble Every Day (2001, dir. Claire Denis). These two films are identified with the early twenty-first-century French ‘cinema of the body’ trend, which involves disturbing and horrific portrayals of alienated protagonists, sexual debasement and transgressive urges. In my exploration of the mind/body divide featured in Grave, I’ll argue that the film moves away from portrayals of the cannibal in the two earlier films, as we now observe a female protagonist who is actively engaged in meaningful relationships with others. As such, Justine seeks connection rather than disconnection from those around her, with varying levels of success.
{"title":"Navigating the Mind/body Divide: The Female Cannibal in French Films Grave (Raw, 2016), Dans ma peau (In My Skin, 2002) and Trouble Every Day (2001)","authors":"K. Dooley","doi":"10.1108/978-1-78769-897-020191005","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191005","url":null,"abstract":"Abstract \u0000Grave (English title: Raw), the 2016 feature film debut from French writer/director Julia Ducournau, is a body horror that explores cannibalism in a contemporary setting. A vegetarian student, Justine, develops cannibalistic desires after she is forced to eat rabbit kidneys in a hazing ritual at a veterinarian school. \u0000 \u0000This film portrays the female cannibal as having lost control of her bodily impulses. Justine displays a loss of cognition that results in involuntary actions when confronted with raw flesh. One can observe parallels in this portrayal and that featured in earlier films Dans ma peau (In my Skin, 2002, dir. Marina de Van) and Trouble Every Day (2001, dir. Claire Denis). These two films are identified with the early twenty-first-century French ‘cinema of the body’ trend, which involves disturbing and horrific portrayals of alienated protagonists, sexual debasement and transgressive urges. \u0000 \u0000In my exploration of the mind/body divide featured in Grave, I’ll argue that the film moves away from portrayals of the cannibal in the two earlier films, as we now observe a female protagonist who is actively engaged in meaningful relationships with others. As such, Justine seeks connection rather than disconnection from those around her, with varying levels of success.","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125143245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-13DOI: 10.1108/978-1-78769-897-020191010
Frances A. Kamm
David Punter and Glennis Byron note how the Gothic novel has been divided into two categories: the ‘Male’ and ‘Female’ Gothic. Where the former emphasizes violence and ghosts, the latter focuses on female representation and the disavowal of the supernatural. The Hollywood Gothic films of the 1940s can be said to translate this aspect of the Female Gothic onto the cinema screen: Rebecca (1940), Gaslight (1944) and Secret Beyond the Door (1947) all feature narratives stressing the haunting nature of domestic spaces but there are no actual ghosts present. Robert Zemeckis’s What Lies Beneath (2000) breaks this convention. The film clearly draws on the Female Gothic lineage, situating Claire as a Gothic heroine, and yet there is an important difference: the supernatural is now an integral – and acknowledged – part of the story. This chapter explores this twenty-first century change, arguing that whilst the inclusion of the supernatural can be said to break with previous definitions of the Female Gothic, What Lies Beneath’s depiction of a ghost actually re-imagines and re-emphasizes the concerns at the centre of this tradition: the dramatization of marital and domestic experiences; an interrogation of feminine perception; and the reality of male violence against women.
{"title":"‘There’s a Ghost in My House’: The Female Gothic and the Supernatural inWhat Lies Beneath(2000)","authors":"Frances A. Kamm","doi":"10.1108/978-1-78769-897-020191010","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191010","url":null,"abstract":"David Punter and Glennis Byron note how the Gothic novel has been divided into two categories: the ‘Male’ and ‘Female’ Gothic. Where the former emphasizes violence and ghosts, the latter focuses on female representation and the disavowal of the supernatural. The Hollywood Gothic films of the 1940s can be said to translate this aspect of the Female Gothic onto the cinema screen: Rebecca (1940), Gaslight (1944) and Secret Beyond the Door (1947) all feature narratives stressing the haunting nature of domestic spaces but there are no actual ghosts present. Robert Zemeckis’s What Lies Beneath (2000) breaks this convention. The film clearly draws on the Female Gothic lineage, situating Claire as a Gothic heroine, and yet there is an important difference: the supernatural is now an integral – and acknowledged – part of the story. This chapter explores this twenty-first century change, arguing that whilst the inclusion of the supernatural can be said to break with previous definitions of the Female Gothic, What Lies Beneath’s depiction of a ghost actually re-imagines and re-emphasizes the concerns at the centre of this tradition: the dramatization of marital and domestic experiences; an interrogation of feminine perception; and the reality of male violence against women.","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132364079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-13DOI: 10.1108/978-1-78769-897-020191009
M. Denny
Taking up the work of Linda Hutcheon and Catherine Constable, this chapter demonstrates the ways in which Byzantium critically reworks aspects of earlier vampire fiction in order to critique and expand the representation of the female vampire and through this explore issues relating to female subjectivity and community.
{"title":"‘In Celebration of Her Wickedness?’: Critical Intertextuality and the Female Vampire in Byzantium","authors":"M. Denny","doi":"10.1108/978-1-78769-897-020191009","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191009","url":null,"abstract":"Taking up the work of Linda Hutcheon and Catherine Constable, this chapter demonstrates the ways in which Byzantium critically reworks aspects of earlier vampire fiction in order to critique and expand the representation of the female vampire and through this explore issues relating to female subjectivity and community.","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126916508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-13DOI: 10.1108/978-1-78769-897-020191015
Emilio Audissino
Abstract The Final Girls (Todd Strauss-Schulson, 2015) is the story of a group of teenage friends that, during the screening of a Friday the 13th-like 1980s slasher horror, happen to be sucked into the film. Trapped in the gruesome narrative, they have to survive the deranged killer that haunts the premises of the campsite by applying their knowledge of the rules and cliches of the slasher genre. The film is of interest not only because it mixes horror and comedy and exaggerates the horror genre’s conventions – as Scream and other neo-slashers already did. By employing the device of the screen rupture, the film constructs a complex network of self-reflexive moments and intertextual references. The metalinguistic play involves in particular the notoriously sexophobic and gender-led dynamics of the 1980s slashers – those more emancipated girls who have sex are killed; the most prudish girl is the one that eventually manages to defeat the monster, the ‘Final Girl’. In this sense, the film is almost like a video essay that reprises and illustrates one of the most seminal study of the slasher genre, Carol Clover’s 1992 Men, Women, and Chainsaws: Gender in the Modern Horror Film. The chapter presents the defining elements of the slasher subgenre as theorized by Clover and then focusses on the analysis of the metalinguistic elements of The Final Girls vis-a-vis Clover’s classic text.
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Pub Date : 2019-03-13DOI: 10.1108/978-1-78769-897-020191008
Joseph Brennan
This chapter considers the influence of horror on the production of commercial gay pornography. I see this influence reflected especially in the production and popularity of gay pornographic films inspired by horror franchises from the slasher and ‘torture porn’ cycles that have been remade in recent decades. Nine texts are selected for analysis – from the slasher genre: Bryan Kenny’s 2010 A Nightmare on Twink Street (inspired by the A Nightmare on Elm Street series), Andy Kay’s 2012 Black XXXmas (inspired by Black Christmas), Frank Fuder and Angel Skye’s 2009 Halloweiner: Friday the Fuckteenth and Chi Chi LaRue’s 2016 Scared Stiff (both inspired by the Friday the 13th series), Bromo’s 2017 Cream for Me (Scream series); and from the torture porn genre: Jett Blakk’s 2006 Bonesaw, John Bruno’s 2006 Rammer and Bryan Kenny’s 2010 Raw I and 2011 (with Andy Kay) Raw II (inspired by the Saw franchise). The specificity of the horror genre is addressed, as is the importance of gender. But particular focus is directed toward the structural aspects of gay porn parodies and the degree to which horror parodies in particular have the potential to blend pornographic homosex with graphic violence, perhaps most extreme in the slasher and torture porn horror variants. Other potentialities are also explored, such as for the easing of narrative/sex porn tensions.
本章探讨恐怖对商业同性恋色情制作的影响。我看到这种影响尤其反映在同性恋色情电影的制作和流行上，这些电影的灵感来自于近几十年来被翻拍的恐怖片和“酷刑色情”系列。从恐怖片类型中选择了9个文本进行分析:布莱恩·肯尼2010年的《Twink Street上的噩梦》(灵感来自《猛鬼街》系列)，安迪·凯2012年的《黑色XXXmas》(灵感来自《黑色圣诞节》)，弗兰克·弗德和安吉尔·斯凯2009年的《万圣节:第十九届星期五》和奇奇·拉鲁2016年的《Scared Stiff》(灵感都来自《十三号星期五》系列)，布罗莫2017年的《Cream for Me》(Scream系列);酷刑类色情片:杰特·布莱克2006年的《骨锯》，约翰·布鲁诺2006年的《雷默》，布莱恩·肯尼2010年的《Raw I》和2011年(与安迪·凯合作)的《Raw II》(灵感来自《电锯惊魂》系列)。作者强调了恐怖类型的特殊性，以及性别的重要性。但特别关注的是同性恋色情模仿的结构方面，以及恐怖模仿在多大程度上有可能将色情同性恋与图像暴力混合在一起，也许最极端的是残忍和折磨的色情恐怖变体。其他的潜力也被探索，例如缓解叙事/性色情紧张。
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Pub Date : 2019-03-13DOI: 10.1108/978-1-78769-897-020191006
Louise Flockhart
Abstract In this chapter, I discuss the development of the cannibal picking up from Jennifer Brown’s (2013) study, Cannibalism in Literature and Film. Brown (2013, p. 7) argued that the cannibal is a sign of ultimate difference who ‘reappears in various guises at times when popular culture needs to express real fears and anxieties’. I argue that the most recent version of the cannibal is gendered female and that this coincides with a postfeminist media culture. I explore how the cannibal is positioned as an ambiguous figure which questions both humanity and monstrosity. I argue that this is complicated by gendering it female as women have traditionally straddled the line between human and less-than human in popular culture. I discuss three films: 301/302 (Park, 1995), The Woman (Torino, Van Den Houten, & McKee, 2011) and Raw (De Forets & Ducournau, 2016) and explore how they use incest, objectification and dehumanization as well as cannibalism to explore the ambiguities of postfeminist subjecthood. I will argue that by performing acts of cannibalism the female cannibals in these films reclaim their subjectivity both by objectifying others and by identifying with their victims. The cannibalism also presents the opportunity for female-oriented families through shared consumption which ironically embraces patriarchal ideals of feminine feeding roles and challenges the patriarchal basis of the family.
在本章中，我将从Jennifer Brown(2013)的研究《文学与电影中的食人行为》中讨论食人者的发展。Brown (2013, p. 7)认为食人族是一种终极差异的标志，“当流行文化需要表达真正的恐惧和焦虑时，食人族会以各种各样的形式重新出现”。我认为食人族的最新版本是性别为女性，这与后女权主义媒体文化相吻合。我探索食人者如何被定位为一个模棱两可的人物，质疑人性和怪物。我认为，由于女性传统上在流行文化中横跨人类和非人类之间的界限，因此将其性别化会使情况变得复杂。我讨论了三部电影:《301/302》(Park, 1995年)、《女人》(都灵，Van Den Houten， & McKee, 2011年)和《Raw》(De Forets & Ducournau, 2016年)，并探讨了它们如何利用乱伦、物化、非人化以及食人来探索后女权主义主体性的模糊性。我认为，通过表演食人行为，这些电影中的女性食人族通过物化他人和认同受害者来重新找回她们的主体性。同类相食也为以女性为主导的家庭提供了通过共同消费的机会，这种共同消费具有讽刺意味地拥抱了女性喂养角色的父权制理想，挑战了家庭的父权制基础。
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Pub Date : 2019-03-13DOI: 10.1108/978-1-78769-897-020191004
Irene Baena-Cuder
Abstract The Spanish lycanthrope arrived successfully to Spanish screens with The Mark of the Wolfman (Eguiluz, 1968), introducing iconic actor and scriptwriter Paul Naschy as werewolf Waldemar Daninsky. This persona would be later developed in more depth in The Werewolf Versus the Vampire Woman (Klimovsky, 1970) and Curse of the Devil (Aured, 1972). Furthermore, Daninsky’s construction responded to the historical repressive context of Francoist Spain, and the strong ideal of masculinity imposed and promoted under the fascist regime (Pulido, 2012). After a long hiatus in the horror genre, the more recent film Game of Werewolves (Martinez Moreno, 2011) revisits the figure of the Spanish lycanthrope by introducing two different sets of characters embodying two different types of masculinity and, more significantly, by linking the strong, traditional male identity to the myth of the werewolf, paying homage to Waldemar Daninsky. Thus, through the film’s historically contextualized textual analysis, the chapter seeks to study the myth of the werewolf in twenty-first-century Spain, in relation to the changes in the masculine identity and the historical context to which it refers, exploring the struggle of men to move from the traditional male identity imposed during the dictatorship to a more progressive one.
《狼人的印记》(The Mark of The Wolfman, Eguiluz, 1968)成功地将西班牙的狼人带到了西班牙的银幕上，由著名演员兼编剧保罗·纳西(Paul Naschy)饰演狼人瓦尔德马尔·达尼斯基(Waldemar Daninsky)。这个角色后来在《狼人大战吸血鬼女》(克里莫夫斯基，1970年)和《魔鬼的诅咒》(奥雷德，1972年)中得到了更深入的发展。此外，Daninsky的建构回应了佛朗哥统治下的西班牙的历史压迫背景，以及法西斯政权强加和促进的强烈的男子气概理想(Pulido, 2012)。在恐怖片沉寂了很长一段时间之后，最近的电影《狼人的游戏》(马丁内斯·莫雷诺，2011)重新审视了西班牙狼人的形象，引入了两组不同的角色，体现了两种不同类型的男性气质，更重要的是，通过将强大的传统男性身份与狼人的神话联系起来，向瓦尔德马尔·达尼斯基致敬。因此，通过电影的历史语境文本分析，本章试图研究21世纪西班牙的狼人神话，与男性身份的变化和它所涉及的历史背景有关，探索男性从独裁统治时期强加的传统男性身份向更进步的男性身份转变的斗争。
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