Offers the first book-length study of women filmmakers in horror film, the first all-women edited book on horror film, and the first book to call out the male-bias in written histories of horror and then to illuminate precisely how, and where, these histories are lacking.
Offers the first book-length study of women filmmakers in horror film, the first all-women edited book on horror film, and the first book to call out the male-bias in written histories of horror and then to illuminate precisely how, and where, these histories are lacking.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
ALISON PEIRSE is an associate professor in film and media at the University of Leeds, UK. She is author of After Dracula: The 1930s Horror Film and co-editor of Korean Horror Cinema.
Inhaltsangabe
Contents Acknowledgements Chapter 1. Women Make (Write, Produce, Direct, Shoot, Edit and Analyze) Horror Alison Peirse Chapter 2. Stephanie Rothman and Vampiric Film Histories Alicia Kozma Chapter 3. Inside Karen Arthur’s The Mafu Cage Alexandra Heller-Nicholas Chapter 4. The Secret Beyond the Door: Daria Nicolodi and Suspiria’s Multiple Authorship Martha Shearer Chapter 5. Personal Trauma Cinema and the Experimental Videos of Cecelia Condit and Ellen Cantor Katia Houde Chapter 6. Self-Reflexivity and Feminist Camp in Freddy’s Dead: The Final Nightmare Tosha R. Taylor Chapter 7. Why Office Killer Matters Dahlia Schweitzer Chapter 8. Murders and Adaptations: Gender in American Psycho Laura Mee Chapter 9. Gender, Genre and Authorship in Ginger Snaps Katarzyna Paszkiewicz Chapter 10. The Feminist Art-Horror of the New French Extremity Maddison McGillvray Chapter 11. Women-Made Horror in Korean Cinema Molly Kim Chapter 12. The Stranger With My Face International Film Festival and the Australian Female Gothic Donna McRae Chapter 13. Slicing Up the Boys’ Club: The Female-led Horror Anthology Film Erin Harrington Chapter 14. The Transnational Gaze in A Girl Walks Home Alone at Night Lindsey Decker Chapter 15. Gigi Saul Guerrero and her Latin American Female Monsters Valeria Villegas Lindvall Chapter 16. Uncanny Tales: Lucile Hadihalilovi¿’s Évolution Janice Loreck Chapter 17. The (re)Birth of Pregnancy Horror in Alice Lowe’s Prevenge Amy C. Chambers Chapter 18. The Rise of the Female Horror Filmmaker-Fan Sonia Lupher Notes on Contributors Index
Contents Acknowledgements Chapter 1. Women Make (Write, Produce, Direct, Shoot, Edit and Analyze) Horror Alison Peirse Chapter 2. Stephanie Rothman and Vampiric Film Histories Alicia Kozma Chapter 3. Inside Karen Arthur’s The Mafu Cage Alexandra Heller-Nicholas Chapter 4. The Secret Beyond the Door: Daria Nicolodi and Suspiria’s Multiple Authorship Martha Shearer Chapter 5. Personal Trauma Cinema and the Experimental Videos of Cecelia Condit and Ellen Cantor Katia Houde Chapter 6. Self-Reflexivity and Feminist Camp in Freddy’s Dead: The Final Nightmare Tosha R. Taylor Chapter 7. Why Office Killer Matters Dahlia Schweitzer Chapter 8. Murders and Adaptations: Gender in American Psycho Laura Mee Chapter 9. Gender, Genre and Authorship in Ginger Snaps Katarzyna Paszkiewicz Chapter 10. The Feminist Art-Horror of the New French Extremity Maddison McGillvray Chapter 11. Women-Made Horror in Korean Cinema Molly Kim Chapter 12. The Stranger With My Face International Film Festival and the Australian Female Gothic Donna McRae Chapter 13. Slicing Up the Boys’ Club: The Female-led Horror Anthology Film Erin Harrington Chapter 14. The Transnational Gaze in A Girl Walks Home Alone at Night Lindsey Decker Chapter 15. Gigi Saul Guerrero and her Latin American Female Monsters Valeria Villegas Lindvall Chapter 16. Uncanny Tales: Lucile Hadihalilovi¿’s Évolution Janice Loreck Chapter 17. The (re)Birth of Pregnancy Horror in Alice Lowe’s Prevenge Amy C. Chambers Chapter 18. The Rise of the Female Horror Filmmaker-Fan Sonia Lupher Notes on Contributors Index
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