Women Make Horror : : Filmmaking, Feminism, Genre / / ed. by Alison Peirse.

• TeilnehmendeR: Chambers, Amy C.; Decker, Lindsey.; Harrington, Erin.; Heller-Nicholas, Alexandra.; Houde, Katia.; Kim, Molly.; Kozma, Alicia.; Lindvall, Valeria Villegas.; Loreck, Janice.; Lupher, Sonia.; McDonald, Tamar Jeffers.; McGillvray, Maddison.; McRae, Donna.; Mee, Laura.; Paszkiewicz, Katarzyna.; Peirse, Alison.; Schweitzer, Dahlia.; Shearer, Martha.; Taylor, Tosha R.
• MitwirkendeR: Chambers, Amy C.,; Decker, Lindsey,; Harrington, Erin,; Heller-Nicholas, Alexandra,; Houde, Katia,; Kim, Molly,; Kozma, Alicia,; Loreck, Janice,; Lupher, Sonia,; Mcgillvray, Maddi,; Mcrae, Donna,; Mee, Laura,; Paszkiewicz, Katarzyna,; Peirse, Alison,; Schweitzer, Dahlia,; Shearer, Martha,; Taylor, Tosha R.,; Villegas Lindvall, Valeria,
• HerausgeberIn: Peirse, Alison,
• Place / Publishing House: New Brunswick, NJ : : Rutgers University Press, , [2021]; ©2020
• Year of Publication: 2021
• Language: English
• Physical Description: 1 online resource (234 p.)
• Other title: Frontmatter --; Contents --; 1. Women Make (Write, Produce, Direct, Shoot, Edit, and Analyze) Horror --; 2. Stephanie Rothman and Vampiric Film Histories --; 3. Inside Karen Arthur’s The Mafu Cage --; 4. The Secret Beyond the Door: Daria Nicolodi and Suspiria’s Multiple Authorship --; 5. Personal Trauma Cinema and the Experimental Videos of Cecelia Condit and Ellen Cantor --; 6. Self-Reflexivity and Feminist Camp in Freddy’s Dead: The Final Nightmare --; 7. Why Office Killer Matters --; 8. Murders and Adaptations: Gender in American Psycho --; 9. Gender, Genre, and Authorship in Ginger Snaps --; 10. The Feminist Art Horror of the New French Extremity --; 11. Women-Made Horror in Korean Cinema --; 12. The Stranger With My Face International Film Festival and the Australian Female Gothic --; 13. Slicing Up the Boys’ Club: The Female-Led Horror Anthology Film --; 14. The Transnational Gaze in A Girl Walks Home Alone at Night --; 15. Gigi Saul Guerrero and Her Latin American Female Monsters --; 16. Uncanny Tales: Lucile Hadžihalilović’s Évolution --; 17. The (Re)birth of Pregnancy Horror in Alice Lowe’s Prevenge --; 18. The Rise of the Female Horror Filmmaker-Fan --; Acknowledgments --; Notes on Contributors --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781978805156
• DOI: 10.36019/9781978805156
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: ed. by Alison Peirse.

Winner of the the 2021 Best Edited Collection Award from BAFTSS ​Finalist for the 2020 Bram Stoker Award® for Superior Achievement in Non-Fiction Runner-Up for Book of the Year in the 19th Annual Rondo Halton Classic Horror Awards​ “But women were never out there making horror films, that’s why they are not written about – you can’t include what doesn’t exist.” “Women are just not that interested in making horror films.” This is what you get when you are a woman working in horror, whether as a writer, academic, festival programmer, or filmmaker. These assumptions are based on decades of flawed scholarly, critical, and industrial thinking about the genre. Women Make Horror sets right these misconceptions. Women have always made horror. They have always been an audience for the genre, and today, as this book reveals, women academics, critics, and filmmakers alike remain committed to a film genre that offers almost unlimited opportunities for exploring and deconstructing social and cultural constructions of gender, femininity, sexuality, and the body. Women Make Horror explores narrative and experimental cinema; short, anthology, and feature filmmaking; and offers case studies of North American, Latin American, European, East Asian, and Australian filmmakers, films, and festivals. With this book we can transform how we think about women filmmakers and genre.