Podcasts about chainsaws gender

In today's episode, we are finally tackling the film Roger Ebert called “a raw and painful experience” that “transcends the genre of terror, horror, and the supernatural.” We are, of course, talking about William Friedkin's The Exorcist (1973). Based on William Peter Blatty's novel of the same name, the film is an acknowledged classic trafficking in body horror and demonic possession, scenes of which have morphed into head turning, pea-soup laced pop culture shorthand. But is there more to this story than meets the eye? We're breaking it all down today with spoilers so stay tuned. References/Mentioned in this Episode Clover, Carol J. Men, Women, and Chainsaws: Gender in the Modern Horror Film-Up. Princeton University Press, 2015. Collative Learning. The even darker underbelly of THE EXORCIST - film analysis. YouTube, 24 January 2017. Ebert, Roger. “The Exorcist.” RogerEbert.com, 23 December 1973. Happy Haunts Library, YouTube, 2023. Heffernan, Ryan. “The 9 Most Hilarious 'The Exorcist' Parodies in Movies and TV Shows.” Collider, 9 October 2023. Schuetz, Janice. "“The exorcist”: Images of good and evil." Western Journal of Communication (includes Communication Reports) 39.2 (1975): 92-101. Williams, Marlena. Night Mother: A Personal and Cultural History of The Exorcist. Mad Creek Books, 2023. Faces of Fear: Encounters with the Creators of Modern Horror. Berkley Trade, 1985, pp. 36-49. --- Support this podcast: https://podcasters.spotify.com/pod/show/horror-homeroom/support

So we have come to the last of our horror genre shows…although we have decided we like the moniker 'dark literature' better. We have a game-changing author to end it with (in time for Halloween): Paul Tremblay. If you read ‘dark literature' and you haven't devoured A Head Full of Ghosts on a dark and stormy night, RUN, do not walk, to your nearest independent bookstore. But Kate has read seven of his books (so far) and has not been disappointed in a single one. We also talk to horror writer and Professor Michael Arnzen of Seton Hill University about the courses he teaches in the dark art of writing what scares us. We hope you have enjoyed our ‘dark literature' series….we might dip back from time to time. Happy Halloween. Books mentioned in this week's episode: A Head Full of Ghosts by Paul Tremblay The Little Sleep by Paul Tremblay No Sleep Til Wonderland by Paul Tremblay Swallowing a Donkey's Eye by Paul Tremblay Floating Boy and the Girl Who Couldn't Fly by Paul Tremblay and Stephen Graham Jones Disappearance at Devil's Rock by Paul Tremblay The Cabin at the End of the World by Paul Tremblay Survivor Song by Paul Tremblay The Pallbearer's Club by Paul Tremblay In the Mean Time by Paul Tremblay Growing Things and Other Stories by Paul Tremblay The Beast You Are: Stories by Paul Tremblay Sophie's Choice by William Styron Absolution by Alice McDermott The Exorcist by William Peter Blatty Mapping the Interior by Stephen Graham Jones Mexican Gothic by Silvia Moreno-Garcia Frankenstein by Mary Shelley The Stand by Stephen King Where Are You Going, Where Have You Been by Joyce Carol Oates Pet Sematary by Stephen King Our Share of Night by Mariana Enríquez Psycho by Robert Bloch The Tell-Tale Heart by Edgar Allen Poe The Masque of the Red Death by Edgar Allen Poe Dracula by Bram Stoker The Turn of the Screw by Henry James  Ulysses by James Joyce Tender Is the Flesh by Agustina Bazterrica Nineteen Eighty-Four by George Orwell Men, Women and Chainsaws: Gender in the Modern Film by Carol Clover Learn more about your ad choices. Visit megaphone.fm/adchoices

The HBS hosts discuss Jordan Peele's special brand of horror with the author of Stepford Daughters, Johanna Isaacson.For a long time, or at least it seemed, horror films were considered to be beneath serious scrutiny. The problematic politics of such films were all too apparent in the violence brought to bear on women's bodies in countless slasher films. The racial politics were not much better; the cliche of the black character dying first exists for a reason. Gradually this changed, though, first with such groundbreaking critical studies such  as Carol Glover's Men, Women, and Chainsaws: Gender in the Modern Horror Film and Robin Wood's “An Introduction to the American Horror film.”In the past few years, horror films themselves have changed as well. Most notably Jordan Peele has made three films dealing with our “social demons”: Get Out (2017), Us (2019), and Nope (2022). To talk with us about horror, the films of Jordan Peele,  and how horror can be used to develop our critical understanding of capitalism, racism, and patriarchy, we have invited Johanna Isaacson author of Stepford Daughters: Weapons for Feminists in Contemporary Horror.Full episode notes available at this link:https://hotelbarpodcast.com/podcast/episode-109-jordan-peeles-horror-with-johanna-isaacson-------------------If you enjoy Hotel Bar Sessions podcast, please be sure to subscribe and submit a rating/review! Better yet, you can support this podcast by signing up to be one of our Patrons at patreon.com/hotebarsessions! Follow us on Twitter @hotelbarpodcast, on Facebook, and subscribe to our YouTube channel!    

Victoria Nelson saw it first: Popular culture teems with occult ideas, vestiges of bygone belief, fragments of ancient magic disguised as common entertainment. Her 2001 work The Secret Life of Puppets is in many ways the ur-text of weird studies, so prescient and probing it is even more relevant now than it was when it first appeared. In episode 128 (https://www.weirdstudies.com/128), Phil and JF discussed Nelson's wonderful first novel Neighbor George (2021). In this episode, Nelson joins the hosts of Weird Studies to talk about the vision that drove her to write Secret Life along with its equally insightful follow-up, Gothicka. Listen to volume 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and volume 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2) of the Weird Studies soundtrack by Pierre-Yves Martel (https://www.pymartel.com) Support us on Patreon (https://www.patreon.com/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the new T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! Get your Weird Studies merchandise (https://www.redbubble.com/people/Weird-Studies/shop?asc=u) (t-shirts, coffee mugs, etc.) Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) SHOW NOTES Victoria Nelson, The Secret Life of Puppets, Gothicka, Neighbor George M. R. James, [Collected Ghost Stories](https://en.wikipedia.org/wiki/TheCollectedGhostStoriesofM.R.James)_ Tzvetan Todorov, The Fantastic: A Structural Approach to a Literary Genre (https://www.cornellpress.cornell.edu/book/9780801491467/the-fantastic/#bookTabs=1) Sigmund Freud, [Civilization and its Discontents](https://en.wikipedia.org/wiki/CivilizationandItsDiscontents)_ Carol Clover, Men, Women, and Chainsaws: Gender in the Modern Horror Film (https://www.amazon.com/Men-Women-Chainsaws-Gender-Modern/dp/0851704190) Bruno Schulz, [The Street of Crocodiles](https://en.wikipedia.org/wiki/TheStreetofCrocodiles)_ Stephenie Meyer, Twilight (https://stepheniemeyer.com/the-twilight-saga/) series William P. Young, The Shack: Where Tragedy Confronts Eternity (https://www.amazon.com/Shack-Where-Tragedy-Confronts-Eternity/dp/0964729237) _ Against Everyone with Conner Habib (https://connerhabib.com/against-everyone/), episodes 202 (https://www.patreon.com/posts/74118938?pr=true) & 203 (https://www.patreon.com/posts/74427827?pr=true) James R. Lewis, _The Gods Have Landed (https://sunypress.edu/Books/T/The-Gods-Have-Landed2) Anne Rice, [Interview with the Vampire](https://en.wikipedia.org/wiki/InterviewwiththeVampire)_ Honoré de Balzac, "Séraphîta" (https://en.wikipedia.org/wiki/Séraphîta) L. Ron Hubbard (https://en.wikipedia.org/wiki/L._Ron_Hubbard), founder of Scientology Special Guest: Victoria Nelson.

This episode, I uncover the dangerous legacy of transphobia in the slasher film to reveal the true monsters behind the knives and chainsaws. References: Behind the Horror: The True Stories That Inspired Horror Movies by Dr. Lee Mellor Dead Blondes and Bad Moms: Monstrosity, Patriarchy, and the Fear of Female Power by Jude Ellison Sady Doyle (you will find the book under Sady Doyle) (2019) Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover (2015) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thestorieswetellpodcast/support

Pace (they/them) is joined by special guest Olivia LaFlamme Washington (they/them) to discuss the 2009 remake of Friday the 13th. We take a deep dive into whether or not the final girl can be considered feminist and what is so alluring about slasher films, anyway? Also, what is with the gritty remakes of the late 2000s? Find out all of this and more on this episode of Horror Nerds at Church! Content warnings: mention of sexism, queerphobia, the r-word, and ableism as depicted in the film Books Mentioned: -The Hero with a Thousand Faces by Joseph Campbell -Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover Support us on Patreon! Buy some merch! Follow us on Instagram, Facebook, and Twitter for all the latest updates about upcoming films, news, and other announcements. And don't forget to comment, rate, and subscribe to us on your favorite podcast provider!

A final girl in the horror genre is the woman who is left to deal with the aftermath of surviving a terrifying killer. From The Texas Chainsaw Massacre, to Friday the 13th, to Halloween.The term 'Final Girl' was first coined by writer Carol J. Clover in her book Men, Women, and Chainsaws: Gender in the Modern Horror Film. Society knows this trope well. But after the credits roll, audiences typically don't know much about what actually happens to that final girl. Or whether she can live a normal life after being hunted down by a masker killer. Author Grady Hendrix unpacks that in his latest novel, The Final Girl Support Group."The ultimate faceless killer they can't escape is the forces of market capitalism. There's always a sequel. So even if you survive Part I and II, they're going to get you in Part III. And there's something terrible about that to me, that you never get to let your guard down," Hendrix said.In participating regions, you'll also hear a local news segment that will help you make sense of what's going on in your community.Email us at considerthis@npr.org.

A final girl in the horror genre is the woman who is left to deal with the aftermath of surviving a terrifying killer. From The Texas Chainsaw Massacre, to Friday the 13th, to Halloween.The term 'Final Girl' was first coined by writer Carol J. Clover in her book Men, Women, and Chainsaws: Gender in the Modern Horror Film. Society knows this trope well. But after the credits roll, audiences typically don't know much about what actually happens to that final girl. Or whether she can live a normal life after being hunted down by a masker killer. Author Grady Hendrix unpacks that in his latest novel, The Final Girl Support Group."The ultimate faceless killer they can't escape is the forces of market capitalism. There's always a sequel. So even if you survive Part I and II, they're going to get you in Part III. And there's something terrible about that to me, that you never get to let your guard down," Hendrix said.In participating regions, you'll also hear a local news segment that will help you make sense of what's going on in your community.Email us at considerthis@npr.org.

What do Jamie Lee Curtis, Neve Campbell, Betty Gabriel, Adrienne Barbeau, Vera Farmiga, Lupita Nyong'o and Anya Taylor-Joy have in common? Well that's not really hard to figure out. They are all bonafide Scream Queens — that echelon of actress that is at the top of the horror genre. Joining Lisa to discuss how this archetype has evolved over the years is our favorite Queen who is such a scream himself, H. Alan Scott, aka Sadie Pines! http://www.halanscott.com You can listen to H. Alan's new project “The Murder of Robert Wone” on Audible. https://amzn.to/3lPG8Rw You can read the book Lisa mentions “Men, Women, and Chainsaws: Gender in the Modern Horror Film” by Carol J. Clover https://amzn.to/3n04d7x

Welcome back to Film Spill: A Movie Night Podcast! This week, Chelsea and Jackie talk about Karyn Kusama and Diablo Cody's cult classic, Jennifer's Body (2009), with Onyx writer and producer, Aspen Nelson! Plus, Jackie predicts Aspen's future through a game of MASH :) Keep up with the short film Aspen is producing @sparkleshortfilm on Instagram Follow Aspen on Medium for more of their film takes Follow us on Instagram @filmspillpod for updates on future episodes Follow us on TikTok @filmspillpod for fun clips of our episodes Follow us on Pinterest to see our boards on each episode You can support the podcast @filmspillpod on PayPal Tell a friend about the show and leave us a review on Apple Podcasts to help more people find us! Jennifer's Body is available to watch on Hulu and Google Play Timestamps: All About Aspen: 0:42 MASH: 2:27 Discussion of Jennifer's Body: 9:24 Outro: 48:29 Sources: Jennifer's Body on Rotten Tomatoes Jennifer's Body on MetaCritic Tamara Jude's article on Jennifer's Body for Screen Rant Emily Jacobson's article on Jennifer's Body for Film Daze Article on Megan Fox's sexuality and recent IG post Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover Rowan Ellis' video essay, “Loki: The Queer Alien Problem” Wikipedia pages for Jennifer's Body, Karyn Kusama, and Diablo Cody (we know your teacher told you not to, but we're rebels like that)

Hello fellow horror-fiends. This week we're going retro, to the heyday of horror, when men wore masks and women checked basements in their negligee. Our guest is Grady Hendrix, a writer perpetually interested in taking tropes, only to stab them, kill them, and resurrect them as something new. He's done it with exorcisms, vampires, the devil and … erm .. IKEA.Now he's taking on the slasher and his counterpart, in The Final Girl Support Group. A novel that takes the bloody, weary body of the female heroine, and gives her the chance to kick the hell out of the monster chasing her. It's meta, funny, wry and ironic – but it's also a story with heart. I enjoyed it immensely.Grady and I talk about our favourite slashers (and final girls), why we're obsessed with nostalgia, what it means that we enjoy films about killing women, and I – once again ­– give away too much of my own psychological frailty. This time it's my all-consuming terror of Freddy Kruger.This is a book and conversation that will REALLY please the true horror lovers.Enjoy! The Final Girl Support Group is published July 13th by Berkley in North American and Titan in the UK.Books mentioned in this episode include:Paperbacks From Hell (2017), by Grady HendrixWe Sold Our Souls (2018), by Grady HendrixThe Southern Book Club's Guide to Slaying Vampires (2020), by Grady HendrixMen, Women and Chainsaws: Gender in the Modern Horror Film (1992), by Carol J. CloverThe Last Final Girl (2012), by Stephen Graham JonesFinal Girls (2017), by Riley SagerThe Tribe (1981), by Bari WoodWhen Darkness Loves Us (1985), by Elizabeth EngstromSupport the show on Patreon - https://www.patreon.com/TalkingScaredPodCome talk books on Twitter @talkscaredpod, on Instagram, or email direct to talkingscaredpod@gmail.com.Thanks to Adrian Flounders for graphic design.

Rape-revenge movies have a reputation as voyeuristic at best, or at worst, distorted fantasies made by men, for men. Emerald Fennell’s “Promising Young Woman” reimagines the genre by exploring what revenge and reparations would be sufficient to punish a rapist. We explore the societal and legal structures that fail rape survivors and how men respond when women don’t act the way they expect. Content warning: This episode deals with rape and trauma, so if that’s not something you want to listen to, check out one of our other episodes. Cited: Clover, Carol J. "Men, Women, and Chainsaws: Gender in the Modern Horror Film." Princeton University Press, 1997. Machado, Carmen Maria. "How 'Promising Young Woman' Refigures the Rape-Revenge Movie." The New Yorker. https://www.newyorker.com/culture/cultural-comment/how-promising-young-woman-refigures-the-rape-revenge-movie Wilson, Lena. "Rape-Revenge Tales: Cathartic? Maybe. Incomplete? Definitely." The New York Times. https://www.nytimes.com/2021/01/14/movies/rape-revenge-films-flaws.html The music used in this episode is "Lost Souls" by Portrayal freemusicarchive.org/music/Portraya…l_-_Lost_Souls used under an attribution license creativecommons.org/licenses/by/4.0/

Jen and Tim welcome back Mike Rosen so he can carve up Joss Whedon like the turkey he is and also to discuss an affectionate satire of the slasher genre. Offensive Films by Mikita Brottman https://www.alibris.com/Offensive-Films-Dr-Mikita-Brottman/book/8946546 Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover https://www.alibris.com/Men-Women-and-Chain-Saws-Gender-in-the-Modern-Horror-Film-Updated-Edition/book/40454256?matches=11

Jen and Tim welcome back Mike Rosen so he can carve up Joss Whedon like the turkey he is and also to discuss an affectionate satire of the slasher genre. Offensive Films by Mikita Brottman https://www.alibris.com/Offensive-Films-Dr-Mikita-Brottman/book/8946546 Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover https://www.alibris.com/Men-Women-and-Chain-Saws-Gender-in-the-Modern-Horror-Film-Updated-Edition/book/40454256?matches=11

Dr Alison Peirse is a film professor and writer of "After Dracula", "Korean Horror Cinema", and "Women Make Horror: Filmmaking, Feminism, Genre". In this episode, we talk all about the history of women in horror and women creating horror, as well as advice for new filmmakers and horror movie recommendations to watch on Halloween! Join our community of women filmmakers over on Instagram @MakingItWomenInFilm Follow Alison on Instagram @AlisonPeirse, and purchase "Women Make Horror" here. Follow Shania on Instagram @ShaniaBethune and @ShaniaFilm Follow Evita on Instagram @MalinEvita Alison's book list recommendations: Horror Noire: Blacks in American Horror Films from the 1890's to Present, by Robin R. Means Coleman Men, Women, and Chainsaws: Gender in Modern Horror Film, Carol J. Glover The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick, by Mallory O'Meary 1000 Women in Horror: 1896-2018, by Alexandra Heller-Nicholas House of Psychotic Women: Autobiographical Topography of Female Neurosis in Horror and Exploitation Films, by Kier-La Janisse This episode was hosted by Malin Evita and Shania Bethune, guest-starring Alison Peirse, and edited by Malin Evita. For more, go to malinevita.com/podcast or contact us at makingitwomeninfilm@gmail.com --- Send in a voice message: https://anchor.fm/makingitwomeninfilm/message

In Episode 4, Lauren and Jared talk politics, flies, and capitalism (4:30), Lovecraft country and pickaninny problems (12:10), the most beautiful television in the world (31:19), how vampires tried - and failed - to gentrify the Bronx (36:10), a quick tangent to remember The Descent (44:51), the whelmed-ness of Bly Manor - (49:09), cringe at Netflix trying so hard to be down (1:02:43), accessibility and diversity in horror (1:10:43), a reminder that we said covid was going to ruin everything (1:31:38), and get into one of Lauren's favorite films ever - Bill Gun's Ganja and Hess. Gems from E4: Mr. Roger’s Neighborhood (1968-2001 - 31 Seasons) It Follows (2015)Nightmare on Elm Street (1984) Vampires in the Bronx (2020)Hubie Halloween (2020)The Haunting of Bly Manor (2020)The Descent (2005)Black Christmas (2006)The Village (2004)Scary Movie (2000)Scary Movie 2 (2001)Midnight Meat Train (2008)Terror Train (1980) Halloween (1978) Prom Night (1980) The Fog (1980) Trading Places (1983)Scream 2 (1997)Menace II Society (1993)Jason’s Lyric (1994)Higher Learning (1995)Demon Knight (1995)The Nutty Professor (1996)Cabin in the Woods (2011) Us (2019)If Beale Street Could Talk (2018) One Day at a Time (2017)Insecure (2016)Midsommar (2019)Boomerang (1992)Boyz in the Hood (1990)Fargo (1996)Ganja & Hess (1973)Men, Women, and Chainsaws: Gender in the Modern Horror Film (1992) Written by Carol J. Clover. Special shout out to @DreaLeeanne for requesting the episode info! From now on, everything we talk about will be in the podcast descriptions and there will be a recap post on IG. Appreciate you!

We talk about the 2009 film ‘Jennifer’s Body,’ why it wasn’t appreciated when it came out, and what it has to say about the expectations we project onto young women’s bodies. We discuss Megan Fox’s theory about why the movie bombed and the treatment of actresses pre-MeToo, and we dive into how the movie plays with horror tropes. Cited: Blichert, Frederick. “'Jennifer’s Body' Would Kill if It Came Out Today.” Vice. https://www.vice.com/en/article/qv99y3/jennifers-body-would-kill-if-it-came-out-today?utm_source=vicetwitterus Clover, Carol J. Men, Women, and Chainsaws: Gender in the Modern Horror Film. Princeton University Press, 1997. Grady, Constance. “How Jennifer’s Body went from a flop in 2009 to a feminist cult classic today.’ Vox. https://www.vox.com/culture/2018/10/31/18037996/jennifers-body-flop-cult-classic-feminist-horror Scott, A.O. “Hell Is Other People, Especially the Popular Girl.” New York Times. https://www.nytimes.com/2009/09/18/movies/18jennifer.html The music used in this episode is "Lost Souls" by Portrayal freemusicarchive.org/music/Portraya…l_-_Lost_Souls used under an attribution license creativecommons.org/licenses/by/4.0/

This week's horror pick: the original Texas Chainsaw Massacre (1974). Our hosts, Mary Kay, Rachel, and Mary welcome on guest and voice actor Kelly Nugent. They answer important questions like: Why does Franklin even consort with these SOBs? How did they pull off the feel of ungendered violence with such incredibly phallic weapons? Will we ever eat barbecue again? Links: Texas Chainsaw Massacre (1974). Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover Buy Mary Kay's book, America's First Female Serial Killer: Jane Toppan and the Making of a Monster. __ SHOW INFORMATION Instagram: @EverythingTryingToKillYou Twitter: @horrorshowgirls Facebook Page: @EverythingTryingToKillYou Facebook Group: @EverythingTryingToKillYouGroup Email: EverythingTryingtoKillYou@gmail.com Subscribe: Apple Podcasts Subscribe: Spotify Order Mary Kay’s book, America’s First Female Serial Killer: Jane Toppan and the Making of a Monster on Indiebound, Amazon, or from her person via email: mary.kay.mcbrayer@gmail.com

Tre campionesse, tre ragazze, per lo slasher sono matte! Partendo dal saggio di Carol J. Clover "Men, Women and ChainSaws: Gender in the Modern Horror Film" sul concetto di Final Girl, ChainMailBikini, Mother e Elvira Conigliastra faranno una carrellata dalle origini della Final Girl fino alla sua attuale evoluzione di genere, il Final Boy. Nel mezzo circa due ore di chiacchiere, definizioni, scaramucce col cuscino e un pigiama party col mostro finale, special guest non richiesto il n/m/ostro Portatore di Luce! P.S. coi fuorionda abbiamo creato un'ulteriore puntata fatta di restroscena, letterbox e battute scorrette, ma di queste testimonianze non avrete mai possibilità di ascolto... Almeno fino all'iscrizione al Patreon di Carcassa. E cos'è il Patreon di Carcassa? La possibilità, per chi vorrà, di poter finanziare questo progetto donando poco e ricevendo tanto. Ma avremo occasione di riprendere l'argomento. We'll be back, MF.

This week on The Spectator Film Podcast… The City of the Dead (1960) | 5.8.2020 Featuring: Austin, Maxx Commentary track begins at 12:48 — Notes — Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover — This is a seminal book in academic criticism on the horror genre. We highly recommend this book, and although we didn’t quote the passages at length during our conversation of The City of the Dead, we’ll include Clover’s analysis of “White Science” and “Black Magic” from the second chapter, “Opening Up’: “The world at the opening of the standard occult film is a world governed by White Science—a world in which doctors fix patients, sheriffs catch outlaws, mechanics repair cars, and so on. The intrusion of the supernatural turns that routine world on its head: patients develop inexplicable symptoms, outlaws evaporate, cars are either unfixable or repair and run themselves. Experts are called in, but even the most sophisticated forms of White Science cannot account for the mysterious happenings, which in turn escalate to the point at which the whole community (school, summer camp, family) borders on extinction. Enter Black Magic. Some marginal person (usually a woman, but perhaps a male priest or equivalent) invokes ancient precedent (which in a remarkable number of cases entails bringing forth and reading from an old tome on witchcraft, voodoo, incubi, satanic possession, vampirism, whatever). Her explanation offers a more complete account of the mysterious happenings than the White Science explanation. The members of the community take sides. At first White Science holds the day, but as the terror increases, more and more people begin to entertain and finally embrace the Black Magic solution. Doctors admit that the semen specimens or the fetal heartbeats are not human; sheriffs realize that the “outlaw” has been around for four hundred years; mechanics acknowledge that the car is something more than a machine. Only when rational men have accepted the reality of the irrational—that which is unobservable, unquantifiable, and inexplicable by normal logic—can the supernatural menace be reined in and the community returned to a new state of calm. That state of calm is not, however, the same as the opening state of calm, which is now designated as a state of ignorance. It is a new, enlightened state in which White Science, humbled in its failure, works not arrogantly against but respectfully with Black Magic. It is an ABC story, the C being a kind of religioscientific syncretism” (97-98). “Brief History of the Concept of Heterotopia” by Peter Johnson from Heterotopia Studies — This quick essay is a wonderful introduction to the concept, even to those unfamiliar with Foucault. We’ve only discussed the concept of heterotopia several times in the past, but Peter Johnson’s website heterotopiastudies.com will certainly be one of our resources should we ever discuss it in the future. Signs and Meaning in the Cinema by Peter Wollen — Despite its brevity, this book is one of the most exciting entry points to film studies I’ve encountered. The field may have passed Wollen by, but this book remains incredibly engaging and informative. We’ll include some passages highlighting the system of signs Wollen appropriated from Charles S. Sanders: “An icon, according to Peirce, is a sign which represents its object mainly by it similarity to it; the relationship between signifier and signified is not arbitrary but is one of resemblance or likeness. Thus, for instance, the portrait of a man resembles him. Icons can, however, be divided into two sub-classes: images and diagrams. In the case of images ‘simple qualities’ are alike; in the case of diagrams the ‘relations between the parts’. Many diagrams, of course, contain symboloid features; Peirce readily admitted this. for it was the dominant aspect or dimension of the sign which concerned him” (122). “An index is a sign by virtue of an existential bond between itself and its object. Peirce gave several examples. I see a man with a rolling gait. This is a probably indication that he is a sailor. I see a bowlegged man in corduroys, gaiters and a jacket. These are probable indications that he is a jockey or something of the sort. A sundial or a clock indicates the time of day” (122-23). “The third category of sign, the symbol, corresponds to Saussure’s arbitrary sign. Like Saussure, Peirce speaks of a ‘contract’ by virtue of which the symbol is a sign. The symbolic sign eludes the individual will. ‘You can write down the word “star”, but that does not make you the creator of the word, nor if you erase it have you destroyed the word. The word lives in the minds of those who use it.’ A symbolic sign demands neither resemblance to its object nor any existential bond with it. It is conventional and has the force of a law” (123). Merchants of Menace: The Business of Horror Cinema edited by Richard Nowell — This is a collection of essays I’ve yet to complete reading, although the Robert Spadoni’s essay “Horror Film Atmosphere as Anti-narrative (and Vice Versa)” is decent. Spadoni’s essay discusses The City of the Dead directly, discussing the seemingly opposed forces of atmosphere and narrative in the film, although the essay isn’t remarkably deep all said. “The Folk Horror Chain” by Adam Scovell from Celluloid Wicker Man — Here’s a wonderful article that runs through some of the defining features of the folk horror genre, alongside some of its prominent films. The City of the Dead isn’t discussed at length but it fits in nicely alongside the rest examined here. — Listener Picks — Do you want to pick a movie for us to discuss on the show? Here’s how: Make a donation of $20 or more to ofwemergencyfund.org Check your email for a donation receipt, and send a screenshot of your donation to austin@spectatorfilmpodcast.com or @spectatorfilmpodcast on Instagram In your email or DM, include 1.) your name 2.) the movie you’d like discussed on the show and 3.) a brief overview of your thoughts on the movie. That’s it!

This week on The Spectator Film Podcast… Scooby-Doo on Zombie Island (1998) 10.18.19 Featuring: Austin, Maxx Commentary track begins at 16:03 — Notes — The Fantastic: A Structural Approach to Literary Genre by Tzvetan Todorov — Here’s a link to Todorov’s book on the Fantastic, which comes up frequently in our discussions of films featuring any supernatural elements – and it’s certainly relevant to any discussion of Scooby-Doo. Both insightful and engaging, there’s a reason this book is a classic of academic criticism. If you’re interested in learning more about the fantastic you can also check this post on Owlcation and then this excerpted PDF chapter on the fantastic Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover — One of the most substantial books discussing the horror genre. We bring it up almost every time we watch a horror film, and it definitely played a role in our discussion of Scooby-Doo on Zombie Island as well. — Corrections — Hanna-Barbera shopped out animation of Scooby-Doo on Zombie Island, along with four other Scooby-Doo direct-to-video films, to Mook Animation in Japan. Kitchen Confidential: Adventures in the Culinary Underbelly by Anthony Bourdain — This is the Anthony Bourdain book Austin couldn’t recall in the middle of the episode. Fantastic book. The Witches Curse is an insane 1962 peplum film directed by Ricardo Freda – highly recommended, by the way. What Austin & Maxx really meant was Scooby-Doo and The Witch’s Ghost (1999).

This week on The Spectator Film Podcast… The Curse of the Werewolf (1961) 10/11/19 Featuring: Austin, Maxx Commentary track begins 14:46 — Notes — Terence Fisher by Peter Hutchings — An engaging and insightful book on the director of many of Hammer’s greatest movies, Terence Fisher. Peter Hutchings is a wonderful writer, and this book fits right in with a lot of his other writing. There’s a brief section here discussing The Curse of the Werewolf. A New Heritage of Horror: The English Gothic Cinema by David Pirie — This study by David Pirie was one of the foremost academic examinations of the gothic tradition in British filmmaking. The book isn’t exclusively dedicated to Hammer, but Pirie still discusses Hammer films extensively, while also dedicating an entire chapter to Terence Fisher. Recommended for anyone looking to learn some more about Hammer. The Primal Scene and the Wolf Man — Here’s the link to a page from The Freud Museum discussing the famous “Wolf Man” case and its relationship to the concept of the primal scene. Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover — One of the most substantial books discussing the horror genre. We referenced it multiple times during our discussion of The Curse of the Werewolf, particularly Clover’s observations on how possession narratives relate to the female body. “Rasin’ Hell with Burton, Harris, O’Toole, and Reed in the #MeToo Era” from Notes from the Back Row — Here’s the link to an episode from the Notes from the Back Row podcast discussing Oliver Reed’s antics, hosted by Jenna Ipcar and Veronica Dolginko. The show’s informative and fun, and they have plenty of other episodes worth listening to.

This week on The Spectator Film Podcast… The Gorgon (1965) 10/4/19 Featuring: Austin, Maxx Commentary track begins at 15:06 — Notes — We watched the Indicator Hammer Volume One Box Set edition of The Gorgon for the show this week. Indicator seems to put a lot of resources into every release, and their box sets are fantastic – this box set is no exception. This release of The Gorgon looks amazing and also includes lots of supplemental materials, including its own insightful commentary track by Samm Deighan and Kat Ellinger. Terence Fisher by Peter Hutchings — An engaging and insightful book on the director of many of Hammer’s greatest movies, Terence Fisher. Peter Hutchings is a wonderful writer, and this book fits right in with a lot of his other writing. There’s a brief section here discussing The Gorgon, and Hutchings does a good job situating the film within the rest of Fisher’s work. A New Heritage of Horror: The English Gothic Cinema by David Pirie — This study by David Pirie was one of the foremost academic examinations of the gothic tradition in British filmmaking. The book isn’t exclusively dedicated to Hammer, but Pirie still discusses Hammer films extensively, while also dedicating an entire chapter to Terence Fisher. Recommended for anyone looking to learn some more about Hammer. The Medusa Reader Edited by Marjorie Garber & Nancy J. Vickers — We didn’t wind up relying on any material from this book for this episode, but it’s worth mentioning. It’s a terrific resource for anyone looking to learn more about the way Medusa’s been continuously re-interpreted and appropriated by different people, a process that’s continued for thousands of years. The Monstrous-Feminine: Film, Feminism, Psychoanalysis by Barbara Creed — A vital book for anyone interested in learning how gender operates within the horror genre, in specifically psychoanalytic terms. The psychoanalytic framework of Creed’s examination allows her to provide both insightful commentary on numerous horror films and re-examine the psychoanalytic concepts themselves – it’s a wonderful book. We didn’t reference any specific passage during our episode, but Medusa re-appears consistently throughout the book and clearly serves as one of the most significant images of monstrous femininity. Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover — One of the most substantial books discussing the horror genre. We’ve referenced it numerous times, and it certainly applies to our discussion of The Gorgon as well. The second chapter especially, “Opening Up,” can provide a lot of insight into how The Gorgon utilizes gender within its possession narrative and treatment of Clara. We’ll include a brief passage below: “Whereas the female story traces a circle (she becomes again what she was when the film began), the excesses of its middle disappearing without a physical or psychic trace (Regan is explicitly amnesiac, Linda implicitly so), the male story is linear (he is at the end radically different from what he was at the beginning), public (he and the world know he has changed), and apparently permanent. In other words, hers is an ABA story of restoration in which she emerges unaware of what has transpired, whereas his is an ABC story of revision or conversion in which he emerges a “new man” fully cognizant of what has befallen not only himself but her as well. At the same time, his C is very much like her A. The man he becomes is a man who not only accepts the feminine against which he railed at the outset but even, up to a point, shares it. If he does not accept and share it, as in Don’t Look Now, he dies” (98-99) “Visual Pleasure in Narrative Cinema” by Laura Mulvey — Here’s a link to a PDF version of the essay. Goes without saying that this is one of the most significant essays in film studies, and it was incredibly useful for our discussion of The Gorgon this week. We’ll include some of the relevant passages below: “The first, scopophilic, arises from pleasure in using another person as an object of sexual stimulation through sight. The second, developed through narcissism and the constitution of the ego, comes from identification with the image seen. Thus, in film terms, one implies a separation of the erotic identity of the subject from the object on the screen (active scopophilia), the other demands identification of the ego with the object on screen through the spectator’s fascination with and recognition of his like.” “In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its phantasy on to the female figure which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness. Woman displayed as sexual object is the leit-motif of erotic spectacle…The presence of woman is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation.” “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen. For instance, the device of the show-girl allows the two looks to be unified technically without any apparent break in the diegesis. A woman performs within the narrative, the gaze of the spectator and that of the male characters in the film are neatly combined without breaking narrative verisimilitude.” “An active/passive heterosexual division of labor has similarly controlled narrative structure. According to the principles of the ruling ideology and the physical structures that back it up, the male figure cannot bear the burden of sexual objectification. Man is reluctant to gaze at his exhibitionist like. Hence the split between spectacle and narrative supports the man’s role as the active one of forwarding the story, making things happen. The man controls the film phantasy and also emerges as the representative of power in a further sense: as the bearer of the look of the spectator, transferring it behind the screen to neutralize the extra-diegetic tendencies represented by woman as spectacle. This is made possible through the processes set in motion by structuring the film around a main controlling figure with whom the spectator can identify. As the spectator identifies with the main male protagonist, he projects his look on to that of his like, his screen surrogate, so that the power of the male protagonist as he controls events coincides with the active power of the erotic look, both giving a satisfying sense of omnipotence.”

This week on The Spectator Film Podcast… Scream (1996) 7.18.19 Featuring: Austin, Maxx Commentary track begins at 11:45 — Notes — Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover — This is a seminal book in academic criticism on the horror genre. Highly recommended, and although we reference it explicitly during our conversation of Scream, it would certainly be illuminating to watch the movie with this book in mind. “Incels | Contrapoints” – Here’s the video Maxx mentioned on Incels, for any who may be unaware.

This week on The Spectator Film Podcast… Child’s Play (1988) 6.28.19 Featuring: Austin, Maxx Commentary track begins at 9:21 — Notes — Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover — This is a seminal book in academic criticism on the horror genre. Highly recommended, and we discuss it in our conversation on Child’s Play.  What follows is an excerpt discussing “White Science” and “Black Magic” from the second chapter, “Opening Up’: “The world at the opening of the standard occult film is a world governed by White Science—a world in which doctors fix patients, sheriffs catch outlaws, mechanics repair cars, and so on. The intrusion of the supernatural turns that routine world on its head: patients develop inexplicable symptoms, outlaws evaporate, cars are either unfixable or repair and run themselves. Experts are called in, but even the most sophisticated forms of White Science cannot account for the mysterious happenings, which in turn escalate to the point at which the whole community (school, summer camp, family) borders on extinction. Enter Black Magic. Some marginal person (usually a woman, but perhaps a male priest or equivalent) invokes ancient precedent (which in a remarkable number of cases entails bringing forth and reading from an old tome on witchcraft, voodoo, incubi, satanic possession, vampirism, whatever). Her explanation offers a more complete account of the mysterious happenings than the White Science explanation. The members of the community take sides. At first White Science holds the day, but as the terror increases, more and more people begin to entertain and finally embrace the Black Magic solution. Doctors admit that the semen specimens or the fetal heartbeats are not human; sheriffs realize that the “outlaw” has been around for four hundred years; mechanics acknowledge that the car is something more than a machine. Only when rational men have accepted the reality of the irrational—that which is unobservable, unquantifiable, and inexplicable by normal logic—can the supernatural menace be reined in and the community returned to a new state of calm. That state of calm is not, however, the same as the opening state of calm, which is now designated as a state of ignorance. It is a new, enlightened state in which White Science, humbled in its failure, works not arrogantly against but respectfully with Black Magic. It is an ABC story, the C being a kind of religioscientific syncretism” (97-98). The Fantastic: A Structural Approach to Literary Genre by Tzvetan Todorov — Here’s a link to Todorov’s book on the fantastic, where he establishes the term. It’s an incredibly useful and frequently used term by scholars, particularly when working in the realm of genre criticism. If you’re interested in learning more about the fantastic you can also check this post on Owlcation and then this excerpted PDF chapter on the fantastic.

Jennifer's Body should be something we both like, but do we? The answer is, predictably, more complicated than yes or no. Join us as we discuss catharsis, rage, and subversion, teasing out our confusion (and some rage of our own) through a healthy dose of critical theory.Warnings: This episode is explicit and includes discussions of sexual assault. Please listen with caution if the subject matter is troubling for you.Some Links You Might Find Interesting:You Probably Owe "Jennifer's Body" An Apology by Louis Peitzman Jennifer's Body: Interview with Writer Diablo Cody by Emanuel Levy How Jennifer’s Body went from a flop in 2009 to a feminist cult classic today by Constance Grady Jennifer’s Body: Best Friends Forever, Covered in Blood by Rachel Simmons Men, Women, and Chainsaws - Gender in the Modern Horror Film by Carol J. Clover Terrors of Girlhood by Julie Casali I Watched Lesbianish Classic “Jennifer’s Body” and Now I Love Cinema!!! By Erin ‘JENNIFER’S BODY’ DISINTERRED by Celina C. Wise Exclusive Q&A: Diablo Cody Talks Megan Fox, Therapy, And Doing “The View” With Courtney Love by Jessica Wakeman ‘Jennifer’s Body’ and Bisexuality by Tessa Racked The naked opportunism of "Jennifer's Body" by STEPHANIE ZACHAREK Too Little, Too Late: The Queer Cult Status of Jennifer's Body Is Bittersweet by Sarah Fonseca 'Jennifer’s Body' Would Kill if It Came Out Today by Frederick Blichert Does ‘Jennifer’s Body’ Turn The Possession Genre On Its Head? By Gaayathri Nair Our Website | Twitter | Facebook | Tumblr | Patreon | Merch

Hey Class This one is gonna be a fun one.  Strap in and get ready for Gendered Violence and The Autopsy of Jane Doe What are we Reading Tyler is reading Best Horror of the Year Volume 8 (Specifically in a Canyon in a Cavern).  He is also watching Tag a Japanese horror film.  He also discusses this article from Kotaku about NPCs. Mike is reading Her Body and Other Parties by Carmen Maria Machado Review.  Check out our review.  He is also really excited about A Peoples Future of the United States.  Both guys talk about Tananrive Due and how awesome she is.  Which also leads them to discuss Levar Burton's retweets about Roots and Star Trek.   Also Mike hates Manifest.  Our TV critic is lukewarm about it.   Dark Corners of the Web comes from Nightmare Magazine and really cool take on the La Llorona myth by SILVIA MORENO-GARCIA called Lacrimosa.  Read it here.     Bell Rings.   Watch these series of shorts by Innuendo Studios about Gendered Violence and Mad Max Fury Road.  They are truly awesome and a must for the conversation we are about to have.   Tyler discusses Carol J. Clover's seminal work about the Final Girl,  Men, Women, and Chainsaws: Gender in the Modern Horror Film.  

This week on The Spectator Film Podcast… Dead Alive (1992) 10.5.18 Featuring: Austin, Maxx — Notes — Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover — This is a seminal book in academic criticism on the horror genre. Highly recommended, and we discuss it in our conversation on Dead Alive.  What follows are  few relevant excerpts from the second chapter, “Opening Up’: “The world at the opening of the standard occult film is a world governed by White Science—a world in which doctors fix patients, sheriffs catch outlaws, mechanics repair cars, and so on. The intrusion of the supernatural turns that routine world on its head: patients develop inexplicable symptoms, outlaws evaporate, cars are either unfixable or repair and run themselves. Experts are called in, but even the most sophisticated forms of White Science cannot account for the mysterious happenings, which in turn escalate to the point at which the whole community (school, summer camp, family) borders on extinction. Enter Black Magic. Some marginal person (usually a woman, but perhaps a male priest or equivalent) invokes ancient precedent (which in a remarkable number of cases entails bringing forth and reading from an old tome on witchcraft, voodoo, incubi, satanic possession, vampirism, whatever). Her explanation offers a more complete account of the mysterious happenings than the White Science explanation. The members of the community take sides. At first White Science holds the day, but as the terror increases, more and more people begin to entertain and finally embrace the Black Magic solution. Doctors admit that the semen specimens or the fetal heartbeats are not human; sheriffs realize that the “outlaw” has been around for four hundred years; mechanics acknowledge that the car is something more than a machine. Only when rational men have accepted the reality of the irrational—that which is unobservable, unquantifiable, and inexplicable by normal logic—can the supernatural menace be reined in and the community returned to a new state of calm. That state of calm is not, however, the same as the opening state of calm, which is now designated as a state of ignorance. It is a new, enlightened state in which White Science, humbled in its failure, works not arrogantly against but respectfully with Black Magic. It is an ABC story, the C being a kind of religioscientific syncretism” (97-98). “But as I suggested at the outset, the conflict between White Science and Black Magic is a deeply gendered one, constitutive of a conflict between male and female and also constitutive, within the male story, of a conflict between “masculine” and “feminine.” It is a rare occult film that does not show us a man in crisis, forced by circumstances to question for the first time the universal claims of White Science and to entertain for the first time the claims of a world—of religious, spiritual, magical, and mystical feelings and occurrences—that he has until now held in contempt. Parallel to and simultaneous with this spiritual crisis is an interpersonal one, as the man confronts and accepts the deep feelings he has toward others—wife, girlfriend, children, parents, and male friend. Whereas the female story traces a circle (she becomes again what she was when the film began), the excesses of its middle disappearing without a physical or psychic trace (Regan is explicitly amnesiac, Linda implicitly so), the male story is linear (he is at the end radically different from what he was at the beginning), public (he and the world know he has changed), and apparently permanent. In other words, hers is an ABA story of restoration in which she emerges unaware of what has transpired, whereas his is an ABC story of revision or conversion in which he emerges a “new man” fully cognizant of what has befallen not only himself but her as well. At the same time, his C is very much like her A. The man he becomes is a man who not only accepts the feminine against which he railed at the outset but even, up to a point, shares it. If he does not accept and share it, as in Don’t Look Now, he dies” (98-99)

Dun dun…. Dun dun….dundundundundundundun! This week we’re talking about the Steven Spielberg film, Jaws! In this episode we’ll be telling disastrous behind the scenes stories, discussing the gender of the shark, and trying to remember whether or not sharks have nostrils! Thanks to Lily LeBlanc for our theme song: www.lilythecomposer.com Check out our sponsors at Recess Coffee: www.recesscoffee.com Resources: Butler, Andrew M. Solar Flares: Science Fiction in the 1970s. Liverpool University Press, 2012. Clover, Carol J. Men, Women and Chainsaws: Gender in the Modern Horror Film. Princeton University, 1997. Creed, Barbara. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. Routledge, 2015. Kowalski, Dean A. Steven Spielberg and Philosophy: We're Gonna Need a Bigger Book. University Press of Kentucky, 2008. Links: https://www.youtube.com/watch?v=78AstZwjf1c https://www.youtube.com/watch?v=M69YyOxzKa0 https://www.youtube.com/watch?v=cWR8dHTgX0c https://www.youtube.com/watch?v=9MiVtavjD8w https://www.youtube.com/watch?v=J-kDfBjy1oU https://en.wikipedia.org/wiki/Jaws_(film) https://www.youtube.com/watch?v=vMKFpHwTlIc http://thedailyjaws.com/blog/top-10-jaws-references http://www.mafilm.org/2010/09/20/10-reasons-jaws-might-be-the-best-film-ever-made/ https://www.cbsnews.com/pictures/jaws-turns-40-surprising-facts-about-the-first-blockbuster/12/ http://screenprism.com/insights/article/why-does-bruce-the-sharks-gender-matter-in-jaws http://screenprism.com/insights/article/did-jaws-establish-the-tyranny-happy-endings

After a much-longer-than-expected hiatus, here’s the third podcast in the Everything is Liminal series! It covers The Cold War, gender, haunting, and radical political potentiality in The Shining. The Faculty of Horror Podcast can be found here: http://www.facultyofhorror.com/ and here’s a direct link to their episode on The Shining which is great: http://www.facultyofhorror.com/2015/12/episode-33-all-work-and-no-play-stanley-kubricks-the-shining-1980/ Sources: Baudrillard, Jean. Simulacra and Simulation. Ann Arbor: U of Michigan, 1994. Clover, Carol J. Men, Women, and Chainsaws: Gender in the Modern Horror Film. London: BFI, 1992. Creed, Barbara. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. London: Routledge, 1993. Deleuze, Gilles. Difference and Repetition. New York: Columbia UP, 1994. Freeland, Cynthia. “Explaining the Uncanny in The Double Life of Véronique”, Horror Film and Psychoanalysis. Ed. Steven Jay Schneider. Cambridge: Cambridge University Press, 2004. Gaiman, Neil. Smoke and Mirrors: Short Fictions and Illusions. New York: Avon, 1998. Print. Gordon, Avery. Ghostly Matters: Haunting and the Sociological Imagination. Minneapolis: U of Minnesota, 1997. Hall, Stuart. Encoding and Decoding in the Television Discourse. Birmingham: Centre for Cultural Studies, U of Birmingham, 1973. Podcast music: Let’s Start at the Beginning (Lee Rosevere) / CC BY-SA 4.0 Author: Geneveive Newman

Darknet is an adaptation of the Japanese series Torihada (2010-present), and exists as something between a web series, an interactive TV anthology, and a Canadian network series. References and Further Reading Abramowitz, Rachel. Is That a Gun in Your Pocket?: Women’s Experience of Power in Hollywood. New York: Random House, 2000. Print. Barnouw, Erik. The Golden Web: A History of Broadcasting in the United States. Vol. 2. New York: Oxford UP, 1968. Print. Clover, Carol J. Men Women and Chainsaws: Gender in the Modern Horror Film. London: BFI, 1992. Print. Creed, Barbara. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. London: Routledge, 1993. Print. Hamilton, Patrick. Gas Light, a Victorian Thriller in Three Acts. London: Constable, 1939. Print. Humm, Maggie. Feminism and Film. Edinburgh: Edinburgh UP, 1997. Print. Janisse, Kier-La. House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films. Godalming, UK: Fab, 2012. Print. Jones, Norma, Maja Bajac-Carter, and Bob Batchelor. Heroines of Film and Television: Portrayals in Popular Culture. Lanham, MD: Rowman & Littelfield, 2014. Print. Kristeva, Julia. Powers of Horror: An Essay on Abjection. New York: Columbia UP, 1982. Print. Lené Hole, Kristin. Towards a Feminist Cinematic Ethics: Claire Denis, Emmanuel Levinas and Jean-Luc Nancy. Edinburgh: Edinburgh UP, 2016. Print. Rochon, Debbie. “The Legend of the Scream Queen.” GC Magazine 1999. Web. Rose, Jacqueline. Sexuality in the Field of Vision. London: Verso, 1991. Print. Short, Sue. Misfit Sisters: Screen Horror as Female Rites of Passage. New York: Palgrave Macmillan, 2006. Print. Sobchack, Vivian Carol. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley: U of California, 2004. Print. Let’s Start at the Beginning (Lee Rosevere) / CC BY-SA 4.0 Author: Geneveive Newman

Penny Dreadful, having premiered at South by Southwest and airing on Showtime, is a “quality TV” version of episodic horror. The series derives its name from 19th century serialized fiction called penny dreadfuls, and the series’ main characters and narrative arches are derived from classic 19th century horror literature (Dracula, The Strange Case of Dr. Jekyll and Mr. Hyde, and Frankenstein; or, The Modern Prometheus for example). Further Reading Benshoff, Harry M. Monsters in the Closet: Homosexuality and the Horror Film. Manchester: Manchester UP, 1997. Print. Clover, Carol J. Men Women and Chainsaws: Gender in the Modern Horror Film. London: BFI, 1992. Print. Creed, Barbara. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. London: Routledge, 1993. Print. Hand, Richard J., and Jay McRoy. Monstrous Adaptations: Generic and Thematic Mutations in Horror Film. Manchester: Manchester UP, 2007. Print. Humm, Maggie. Feminism and Film. Edinburgh: Edinburgh UP, 1997. Print. Janisse, Kier-La. House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films. Godalming, UK: Fab, 2012. Print. Kiefer-Newman, Katherine. “Agent of Change: A Multiplicity of Female Tricksters in Two Decades (1990s and Early 2000s to 2010) of Postmodern American Movies.” Diss. Pacifica Graduate Institute, 2011. Print. Kristeva, Julia. Powers of Horror: An Essay on Abjection. New York: Columbia UP, 1982. Print. Skal, David J. The Monster Show: A Cultural History of Horror. New York: Norton, 1993. Print. Let’s Start at the Beginning (Lee Rosevere) / CC BY-SA 4.0 Author: Geneveive Newman

Thomas Grip (co-founder and Creative Director of Frictional Games, makers of the Penumbra series, the Amnesia series, and SOMA) and JT Petty (writer on such games as the first three Splinter Cell titles, Batman Begins, Outlast 1 & 2, and The Walking Dead: Season 2) join us to discuss the Four Layers of Narrative Design, mistaking plot for story, how controllers affect the narrative, goals of storytelling, VR skepticism, the relation between narrative systems and emotional impact, Silent Hill, what a lack of combat can do for you, the lessons developers can learn from horror, and much more! Our Guests on the Internet Thomas' Twitter. JT's Twitter. Stuff We Talked About Frictional Games' Blog Games Telling Stories? by Jesper Juul The Aesthetic of Play by Brian Upton To the Lighthouse by Virginia Woolf Writings & Lectures on Game Design by Richard Rouse III Men, Women, and Chainsaws: Gender in the Modern Horror Film by Carol J. Clover Why VR Will Not Replace Movies by David Pogue Spec Ops: The Line Our theme music was composed by 2Mello, and our logo was created by Lily Nishita.