Gender and Contemporary Horror in Film最新文献

Misogyny or Commentary? Gendered Violence Outside and Inside Captivity 厌女症还是评论?囚禁内外的性别暴力

Gender and Contemporary Horror in Film Pub Date : 2019-03-19 DOI: 10.1108/978-1-78769-897-020191013

S. McMurdo, W. Clayton

{"title":"Misogyny or Commentary? Gendered Violence Outside and Inside Captivity","authors":"S. McMurdo, W. Clayton","doi":"10.1108/978-1-78769-897-020191013","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191013","url":null,"abstract":"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. \u0000 \u0000We 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.","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126790500","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}

引用次数: 0

Dissecting Depictions of Black Masculinity inGet Out 剖析黑人男子气概的描绘

Gender and Contemporary Horror in Film Pub Date : 2019-03-13 DOI: 10.1108/978-1-78769-897-020191016

Francesca Sobande

{"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}

引用次数: 3

The Monstrous-feminine and Masculinity as Abjection in Turkish Horror Cinema: An Analysis of Haunted (Musallat, Alper Mestçi, 2007) 土耳其恐怖电影中作为落魄的怪物女性和男性:《闹鬼》分析(Musallat, Alper mestaperi, 2007)

Gender and Contemporary Horror in Film Pub Date : 2019-03-13 DOI: 10.1108/978-1-78769-897-020191011

Z. Koçer

引用次数: 1

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) 游走于精神/身体的鸿沟:法国电影《坟墓》(Raw, 2016)、《在我的皮肤里》(2002)和《每天都有麻烦》(2001)中的女性食人族

Gender and Contemporary Horror in Film Pub Date : 2019-03-13 DOI: 10.1108/978-1-78769-897-020191005

K. Dooley

{"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}

引用次数: 2

‘There’s a Ghost in My House’: The Female Gothic and the Supernatural inWhat Lies Beneath(2000) 《我的房子里有鬼》:《谎言》中的女性哥特式和超自然现象(2000)

Gender and Contemporary Horror in Film Pub Date : 2019-03-13 DOI: 10.1108/978-1-78769-897-020191010

Frances A. Kamm

{"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}

引用次数: 1

‘In Celebration of Her Wickedness?’: Critical Intertextuality and the Female Vampire in Byzantium “庆祝她的邪恶?”:《拜占庭的批判互文性和女吸血鬼》

Gender and Contemporary Horror in Film Pub Date : 2019-03-13 DOI: 10.1108/978-1-78769-897-020191009

M. Denny

引用次数: 0

The Final Girls(2015) as a Video Essay: A Metalinguistic Play with Genre and Gender Conventions 《最后的女孩》(2015)作为视频散文:一种元语言的体裁和性别惯例游戏

Gender and Contemporary Horror in Film Pub Date : 2019-03-13 DOI: 10.1108/978-1-78769-897-020191015

Emilio Audissino

{"title":"The Final Girls(2015) as a Video Essay: A Metalinguistic Play with Genre and Gender Conventions","authors":"Emilio Audissino","doi":"10.1108/978-1-78769-897-020191015","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191015","url":null,"abstract":"Abstract \u0000The 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.","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"155 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":"115990300","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}

引用次数: 1

Gay Porn (Horror) Parodies 同性恋色情(恐怖)模仿

Gender and Contemporary Horror in Film Pub Date : 2019-03-13 DOI: 10.1108/978-1-78769-897-020191008

Joseph Brennan

{"title":"Gay Porn (Horror) Parodies","authors":"Joseph Brennan","doi":"10.1108/978-1-78769-897-020191008","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191008","url":null,"abstract":"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.","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"35 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":"124519848","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}

引用次数: 0

Gendering the Cannibal in the Postfeminist Era 后女权主义时代食人族的性别化

Gender and Contemporary Horror in Film Pub Date : 2019-03-13 DOI: 10.1108/978-1-78769-897-020191006

Louise Flockhart

{"title":"Gendering the Cannibal in the Postfeminist Era","authors":"Louise Flockhart","doi":"10.1108/978-1-78769-897-020191006","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191006","url":null,"abstract":"Abstract \u0000In 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.","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"6 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":"125061119","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}

引用次数: 0

Game of Werewolves: XXI Century Spanish Werewolves and the Conflict of Masculinity 狼人的游戏:21世纪的西班牙狼人和男子气概的冲突

Gender and Contemporary Horror in Film Pub Date : 2019-03-13 DOI: 10.1108/978-1-78769-897-020191004

Irene Baena-Cuder

{"title":"Game of Werewolves: XXI Century Spanish Werewolves and the Conflict of Masculinity","authors":"Irene Baena-Cuder","doi":"10.1108/978-1-78769-897-020191004","DOIUrl":"https://doi.org/10.1108/978-1-78769-897-020191004","url":null,"abstract":"Abstract \u0000The 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). \u0000 \u0000After 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. \u0000 \u0000Thus, 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.","PeriodicalId":432894,"journal":{"name":"Gender and Contemporary Horror in Film","volume":"7 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":"132524623","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}

引用次数: 0