New Queer Horror Film and Television

by Darren Elliott-Smith (Editor), John Edgar Browning (Editor)

Overview

This anthology comprises essays that study the form, aesthetics and representations of LGBTQ+ identities in an emerging sub-genre of film and television termed ‘New Queer Horror’. This sub-genre designates horror crafted by directors/producers who identify as gay, bi, queer or transgendered, or works like Jeepers Creepers (2001), Let the Right One In (2008), Hannibal (2013–15), or American Horror Story: Coven (2013–14), which feature homoerotic or explicitly homosexual narratives with ‘out’ LGBTQ+ characters. Unlike other studies, this anthology argues that New Queer Horror projects contemporary anxieties within LGBTQ+ subcultures onto its characters and into its narratives, building upon the previously figurative role of Queer monstrosity in the moving image. New Queer Horror thus highlights the limits of a metaphorical understanding of queerness in the horror film, in an age where its presence has become unambiguous. Ultimately, this anthology aims to show that in recent years New Queer Horror has turned the focus of fear on itself, on its own communities and subcultures.

Product Details

ISBN-13:	9781786836281
Publisher:	University of Wales Press
Publication date:	10/01/2020
Series:	University of Wales Press Horror Studies Series
Sold by:	Barnes & Noble
Format:	eBook
Pages:	256
File size:	2 MB

About the Author

This book will appeal to undergraduate and postgraduate students of Gender Studies and LGBTQ studies, students of Film and TV studies - with an emphasis on considerations of genre tropes, representations of sexuality, gender and queerness in the moving image. Readers may also come from the aca-fan community – that is – community of LGBTQ+ fans of Horror that exists online, and in the media.

Table of Contents

List of Illustrations Author Biographies Introduction Part 1: TRANSFORMING, RE-READING AND RE-MAKING QUEER HORROR 1: ‘My Brother’s Creeper’: Towards a Queer (Re-)Reading of Victor Salva’s Jeepers Creepers (2001) – John Edgar Browning 2: Queer Cult Performance: Recreating Rocky Horror in the Twenty-First Century – John Lynskey 3: Castrating the Queer Vampire in Let the Right One In (2009) and Let Me In (2010) – Darren Elliott-Smith 4: ‘Becoming Hannibal’: Identification and Transformation in Queer Horror Television – Ben Tyrer Part 2: QUEER PLAYGROUNDS AND ADOLESCENT HORRORS 5: ‘What happened to my sweet girl?’: Paranoid and Reparative readings of Queer Subjectivity in Black Swan (2010) and Jack and Diane (2012) – Robyn Ollett 6: ‘A Dream Within a Dream’: Children’s ‘Horror’ Television and Lesbianism in the World of Marceline the Vampire Queen – Simon Bacon 7: Abjection, Queer Bodies and Grotesque Doppelgängers in Jack and Diane and The Nature of Nicholas – Fernando Gabriel Pagnoni Berns and Mariana Zárate 8: At the Edges of (queer) Time and Space: Atemporality, Adolescence, and Abjection in Final Destination – Christopher Clark Part 3: BADASS WITCHES AND QUEER WOLVES 9: ‘If you look in the face of evil, evil’s gonna look right back at you’: Anthologising Supernatural Sexualities on American Horror Story: Coven – Andrew J. Owens. 10: Like and Lycanthropy: The New Pack Werewolf According to Tyler, Tyler and Taylor – Tim Stafford 11: ‘Unspeakable Acts’: Coming Out as Werewolf – Lisa Metherell. 12: ‘Sisters United’: Feminist Nostalgia, Queer Spectatorship, and the Radical Witch Politics of Rob Zombie’s The Lords of Salem – Ben Raphael Sher Selected Bibliography

Editorial Reviews

This new collection of essays contributes to the ever-expanding field of queer horror scholarship. Vampires, witches, werewolves, serial killers, and more are examined within this relatively ‘out’ era of LGBTQ+ representation, once again demonstrating how this protean genre continues to speak in fascinating ways to issues of gender and sexuality.”

 

Harry M. Benshoff

As everyday life begins to resemble a horror movie for more and more people, so horror genres have had to shift and change to keep pace with the grotesqueries of the quotidian. In this exciting new volume edited and curated in imaginative ways, queer horror takes center stage. While LGBTQ+ people have long played the monster in the horror genre, we can now look at horror from the perspective of those relegated to the monstrous margins. Ranging between new queer readings of old texts and analyses of aesthetic ruptures, this anthology can claim to offer a definitive look at a genre that has neatly taken aim at normal life.”

 

Jack Halberstam