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The Revolting Child in Horror Cinema by Andrew Scahill Pdf
The monstrous child is the allegorical queer child in various formations of horror cinema: the child with a secret, the child 'possessed' by Otherness, the changeling child, the terrible gang. This book explores the possibilities of 'not growing up' as a model for a queer praxis that confronts the notion of heternormative maturity.
The Revolting Child in Horror Cinema by Andrew Scahill Pdf
The monstrous child is the allegorical queer child in various formations of horror cinema: the child with a secret, the child 'possessed' by Otherness, the changeling child, the terrible gang. This book explores the possibilities of 'not growing up' as a model for a queer praxis that confronts the notion of heternormative maturity.
Children and horror are often thought to be an incompatible meeting of audience and genre, beset by concerns that children will be corrupted or harmed through exposure to horror media. Nowhere is this tension more clear than in horror films for adults, where the demonic child villain is one of the genre's most enduring tropes. However, horror for children is a unique category of contemporary Hollywood cinema in which children are addressed as an audience with specific needs, fears and desires, and where child characters are represented as sympathetic protagonists whose encounters with the horrific lead to cathartic, subversive and productive outcomes. Horror Films for Children examines the history, aesthetics and generic characteristics of children's horror films, and identifies the 'horrific child' as one of the defining features of the genre, where it is as much a staple as it is in adult horror but with vastly different representational, interpretative and affective possibilities. Through analysis of case studies including blockbuster hits (Gremlins), cult favourites (The Monster Squad) and indie darlings (Coraline), Catherine Lester asks, what happens to the horror genre, and the horrific children it represents, when children are the target audience?
Black Witches and Queer Ghosts by Camille S. Alexander Pdf
This book is a collection of 13 essays centering on supernatural serials such as television programs, video games, anime, and manga, featuring teen protagonists and marketed to teen audiences. These essays provide discussions of characters in teen supernatural serials who disrupt white, cisgender social narratives, and addresses possible ways that the on-screen depictions of these characters, who may be POC or LGBTQIA+, can lead to additional discussions of more accurate representations of the Other in the media. This collection explores depictions of characters of color and/or LGBTQ characters in teen supernatural serials who were/are marginalized and examines the possible issues that these depictions can raise on a social level and, possibly, a developmental level for audience members who belong to these communities. The essays included in this collection thoroughly examine these characters and their narratives while providing nuanced examinations of how the media chooses to represent teens of color and LGBTQIA+ teens.
Children and Childhood in the Works of Stephen King by Debbie Olson Pdf
This unique and timely collection examines childhood and the child character throughout Stephen King’s works, from his early novels and short stories, through film adaptations, to his most recent publications. King’s use of child characters within the framework of horror (or of horrific childhood) raises questions about adult expectations of children, childhood, the American family, child agency, and the nature of fear and terror for (or by) children. The ways in which King presents, complicates, challenges, or terrorizes children and notions of childhood provide a unique lens through which to examine American culture, including both adult and social anxieties about children and childhood across the decades of King’s works.
This collection seeks to broaden the discussion of the child image by close analysis of the child and childhood as depicted in non-Western cinemas. Each essay offers a counter-narrative to Western notions of childhood by looking critically at alternative visions of childhood that does not privilege a Western ideal. Rather, this collection seeks to broaden our ideas about children, childhood, and the child’s place in the global community. This collection features a wide variety of contributors from around the world who offer compelling analyses of non-Western, non-Hollywood films starring children.
Shocking Cinema of the 70s by Julian Petley,Xavier Mendik Pdf
This collection focuses on 1970s films from a variety of countries, and from the marginal to the mainstream, which, by tackling various 'difficult' subjects, have proved to be controversial in one way or another. It is not an uncritical celebration of the shocking and the subversive but an attempt to understand why this decade produced films which many found shocking, and what it was that made them shocking to certain audiences. To this end it includes not only films that shocked the conventionally minded, such as hard core pornography, but also those that outraged liberal opinion – for example, Death Wish and Dirty Harry. The book does not simply cast a critical light on a series of controversial films which have been variously maligned, misinterpreted or just plain ignored, but also assesses how their production values, narrative features and critical receptions can be linked to the wider historical and social forces that were dominant during this decade. Furthermore, it explores how these films resonate in our own historical moment – replete as it is with shocks of all kinds.
Zombies, werewolves and chainsaw-wielding maniacs are tried-and-true staples of horror films. But none can match the visceral dread evoked by a child with an innocent face and a diabolical stare. Cinema's evil children attack our cherished ideas of innocence and our innocent bystander status as the audience. A good horror film is a scary ride--a "devil child" movie is a guilt trip. This book examines 24 international films--with discussions of another 100--that in effect "indict" viewers for crimes of child abuse and abandonment, greed, social and ecological negligence, and political and war crimes, and for persistent denial of responsibility for them all. For 75 years evil children have ritually rebuked audiences and, in playing on our guilt, established a horror subgenre that might be described as a blood-spattered rampage on an ethical mission.
Evil Children in the Popular Imagination by Karen J. Renner Pdf
Focusing on narratives with supernatural components, Karen J. Renner argues that the recent proliferation of stories about evil children demonstrates not a declining faith in the innocence of childhood but a desire to preserve its purity. From novels to music videos, photography to video games, the evil child haunts a range of texts and comes in a variety of forms, including changelings, ferals, and monstrous newborns. In this book, Renner illustrates how each subtype offers a different explanation for the problem of the “evil” child and adapts to changing historical circumstances and ideologies.
Racial Blackness and Indian Ocean Slavery by Parisa Vaziri Pdf
Rethinking the history of African enslavement in the western Indian Ocean through the lens of Iranian cinema From the East African and Red Sea coasts to the Persian Gulf ports of Bushihr, Kish, and Hurmuz, sailing and caravan networks supplied Iran and the surrounding regions with African slave labor from antiquity to the nineteenth century. This book reveals how Iranian cinema preserves the legacy of this vast and yet long-overlooked history that has come to be known as Indian Ocean slavery. How does a focus on blackness complicate traditional understandings of history and culture? Parisa Vaziri addresses this question by looking at residues of the Indian Ocean slave trade in Iranian films from the second half of the twentieth century. Revealing the politicized clash between commercial cinema (fīlmfārsī) and alternative filmmaking (the Iranian New Wave), she pays particular attention to the healing ritual zār, which is both an African slave descendent practice and a constitutive element of Iranian culture, as well as to cinematic sīyāh bāzī (Persian black play). Moving beyond other studies on Indian Ocean and trans-Saharan slavery, Vaziri highlights the crystallization of a singular mode of historicity within these cinematic examples—one of “absence” that reflects the relative dearth of archival information on the facts surrounding Indian Ocean slavery. Bringing together cinema studies, Middle East studies, Black studies, and postcolonial theory, Racial Blackness and Indian Ocean Slavery explores African enslavement in the Indian Ocean through the revelatory and little-known history of Iranian cinema. It shows that Iranian film reveals a resistance to facticity representative of the history of African enslavement in the Indian Ocean and preserves the legacy of African slavery’s longue durée in ways that resist its overpowering erasure in the popular and historical imagination. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.
Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed 'elevated horror' and 'post-horror,' films such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema.
Witchcraft and Adolescence in American Popular Culture by Miranda Corcoran Pdf
The first book-length study of witchcraft and adolescence in American popular culture. Will provide readers with a comprehensive overview of teenage witches in literature/media. Uses a novel theoretical framework (Foucauldian and Deleuzian theory, new materialism, theories of embodiment). Adds a new perspective to a topic (female monstrosity) dominated by psychoanalytical theory. Studies a diverse range of texts (film, television, literary and popular fiction, comics, YA fiction). Will appeal to scholars of feminism, media history, girlhood studies, horror, the Gothic, etc.
This is a study of tumultuous transformations of kinship and intimate relationships in American horror fiction over the last three decades. Twelve contemporary novels (by ten women writers and two whose work has been identified as women’s fiction) are grouped into four main thematic clusters – haunted houses; monsters; vampires; and hauntings – but it is social scripts and concerns linked directly to intimacy and family life that structure the entire volume. By drawing attention to how the most intimate of all social relationships – the family – supports and replicates social hierarchies, exclusions, and struggles for dominance, the book problematises the source of horror. The consideration of horror narratives through the lens of familial intimacies makes it possible to rethink genre boundaries, to question the efficacy of certain genre tropes, and to consider the contribution of such diverse authors as Kathe Koja, Tananarive Due, Gwendolyn Kiste, Elizabeth Engstrom, Sara Gran and Caitlín R. Kiernan.
What kinds of terror lurk beneath the surface of White respectability? Many of the top-grossing US horror films between 2008 and 2016 relied heavily on themes of White, patriarchal fear and fragility: outsiders disrupting the sanctity of the almost always White family, evil forces or transgressive ideas transforming loved ones, and children dying when White women eschew traditional maternal roles. Horror film has a long history of radical, political commentary, and Russell Meeuf reveals how racial resentments represented specifically in horror films produced during the Obama era gave rise to the Trump presidency and the Make America Great Again movement. Featuring films such as The Conjuring and Don't Breathe, White Terror explores how motifs of home invasion, exorcism, possession, and hauntings mirror cultural debates around White masculinity, class, religion, socioeconomics, and more. In the vein of Jordan Peele, White Terror exposes how White mainstream fear affects the horror film industry, which in turn cashes in on that fear and draws voters to candidates like Trump.
We seem to be living in hysterical times. A simple Google search reveals the sheer bottomless well of “hysterical” discussions on diverse topics such as the #metoo movement, Trumpianism, border wars, Brexit, transgender liberation, Black Lives Matter, COVID-19, and climate change, to name only a few. Against the backdrop of such recent deployments of hysteria in popular discourse––particularly as they emerge in times of material and hermeneutic crisis––Performing Hysteria re-engages the notion of “hysteria”. Performing Hysteria rigorously mines late 20th- and early 21st-century (primarily visual) culture for signs of hysteria. The various essays in this volume contribute to the multilayered and complex discussions that surround and foster this resurgent interest in hysteria––covering such areas as art, literature, theatre, film, television, dance; crossing such disciplines as cultural studies, political science, philosophy, history, media, disability, race and ethnicity, and gender studies; and analysing stereotypical images and representations of the hysteric in relation to cultural sciences and media studies. Of particular importance is the volume's insistence on taking the intersection of hysteria and performance seriously.
