Archives par mot-clé : horror fiction

Parution : La Parade monstrueuse. La naissance des monstres modernes (dir. Marc Attalah)

Marc Atallah (dir.), La Parade monstrueuse. La naissance des monstres modernes, Cernunnos/Dargaud, 2020.

Dracula, la créature de Frankenstein, Godzilla, mais aussi les savants fous, les Freaks, les super-héros et les mutants… Des feuilletons littéraires du XIXe siècle aux films d’horreur de la Hammer dans les années 1930 en passant par les aliens de la science-fiction, le monde s’est doté d’une nouvelle mythologie.

Dans cet ouvrage, spécialistes et historiens reviennent sur cette période d’intense créativité qui a donné naissance aux monstres modernes et questionnent le rôle qu’occupent ces représentations face à notre humanité.

Ce livre prolonge et approfondit l’exposition « Je est un monstre » présentée à la Maison d’Ailleurs, musée de la science-fiction, de l’utopie et des voyages extraordinaires d’Yverdon-les-Bains, du 1er décembre 2020 au 24 octobre 2021.

Dirigé par Marc Atallah (Section de français de l’Université de Lausanne), il réunit des textes de Marta Caraion, Danielle Chaperon, Dominique Kunz Westerhoff (toutes de la Section de français), Matthieu Pellet (Institut romand des sciences bibliques) et Stéphane Tralongo (Section d’histoire et esthétique du cinéma), ainsi qu’une riche illustration grâce aux œuvres des artistes Benjamin Lacombe (France) et Laurent Durieux (Belgique), et du fonds iconographique de la Maison d’Ailleurs.

 

Parution : Women Make Horror. Filmmaking, Feminism, Genre (dir. Alison Peirse)

Alison Peirse (dir.), Women Make Horror. Filmmaking, Feminism, Genre, Rutgers University Press, 2021. 

“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.

Contributions by Alison Peirse, Alicia Kozma, Alexandra Heller-Nicholas, Martha Shearer, Katia Houde, Tosha R. Taylor, Dahlia Schweitzer, Laura Mee, Katarzyna Paszkiewicz, Maddison McGillvray, Molly Kim, Donna McRae, Erin Harrington, Lindsey Decker, Valeria Villegas Lindvall, Janice Loreck, Amy C. Chambers, Sonia Lupher

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.

Parution : The Palgrave Handbook of Steam Age Gothic

Clive Bloom, The Palgrave Handbook of Steam Age Gothic, Palgrave Macmilan, 2021. 

By the early 1830s the old school of Gothic literature was exhausted. Late Romanticism, emphasising as it did the uncertainties of personality and imagination, gave it a new lease of life. Gothic—the literature of disturbance and uncertainty—now produced works that reflected domestic fears, sexual crimes, drug filled hallucinations, the terrible secrets of middle class marriage, imperial horror at alien invasion, occult demonism and the insanity of psychopaths. It was from the 1830s onwards that the old gothic castle gave way to the country house drawing room, the dungeon was displaced by the sewers of the city and the villains of early novels became the familiar figures of Dr Jekyll and Mr Hyde, Dracula, Dorian Grey and Jack the Ripper. After the death of Prince Albert (1861), the Gothic became darker, more morbid, obsessed with demonic lovers, blood sucking ghouls, blood stained murderers and deranged doctors. Whilst the gothic architecture of the Houses of Parliament and the new Puginesque churches upheld a Victorian ideal of sobriety, Christianity and imperial destiny, Gothic literature filed these new spaces with a dread that spread like a plague to America, France, Germany and even Russia. From 1830 to 1914, the period covered by this volume, we saw the emergence of the greats of Gothic literature and the supernatural from Edgar Allan Poe to Emily Bronte, from Sheridan Le Fanu to Bram Stoker and Robert Louis Stevenson. Contributors also examine the fin-de-siècle dreamers of decadence such as Arthur Machen, M P Shiel and Vernon Lee and their obsession with the occult, folklore, spiritualism, revenants, ghostly apparitions and cosmic annihilation. This volume explores the period through the prism of architectural history, urban studies, feminism, ‘hauntology’ and much more. ‘Horror’, as Poe teaches us, ‘is the soul of the plot’.  

Clive Bloom is Emeritus Professor at Middlesex University, UK. He has written numerous books on popular literature, gothic fiction, history and politics. He is a broadcaster and occasional journalist who has been quoted in both the Washington Post and Pravda and has an entry in the Columbia Book of World Quotations.

Appel à contributions : Les fictions horrifiques à l’ère du streaming

Appel à contributions pour le prochain dossier de Cultural Express : « Les fictions horrifiques à l’ère du streaming« 

Dossier dirigé par Giovanni BERJOLA (giovanni.berjola@orange.fr)

L’horreur à l’écran est un genre lucratif. Les récents triomphes commerciaux le confirment : les deux films consacrés à Ça (2017 et 2019) de Stephen King font partie des productions les plus rentables des dernières années et les séries horrifiques telles que The Haunting (2018) ou American Horror Story (2011), pour ne citer que les plus connues, sont légions. La culture populaire et les fictions pour la jeunesse témoignent de la vitalité d’un genre qui transcende les catégories, les médias et les modes énonciatifs pour s’épanouir sur les chaînes de télévision comme HBO, FX ou AMC, à travers le système de replay des chaînes virtuelles et plus encore sur les plates-formes de streaming comme Netflix, Hulu ou encore Shadows : cette dernière est exclusivement consacrée à la fiction horrifique, signe que l’industrie du divertissement a parfaitement cerné les goûts du public actuel.

Dans son article intitulé, « La tripe cinématographique », Christian Oddos rappelle que « le but essentiel des films d’horreur est de transmettre une horreur visuelle et sordide ou encore d’infliger au spectateur, par l’intermédiaire d’un personnage, une horreur intellectuelle et morale »1. Cette définition date de 1988 : à cette époque, le cinéma reste une forme de divertissement majeure, mais déjà concurrencée par la télévision et la vidéo. Si le cinéma projette, ritualise et sacralise l’expérience horrifique, la télévision la diffuse et la vidéo la fétichise. L’avènement des networks puis de l’internet a depuis bouleversé notre rapport à la fiction cinématographique et télévisuelle. Les films et les séries sont plus nombreux, plus immédiatement disponibles ; les pratiques et les expériences se transforment. Ces changements à la fois confortent et renforcent la place de l’horreur dans le champ culturel tout en amorçant des métamorphoses esthétiques et formelles qu’il serait intéressant d’étudier dans le cadre précis des plates-formes de streaming et des chaînes virtuelles. Continuer la lecture de Appel à contributions : Les fictions horrifiques à l’ère du streaming

  1. Christian Oddos, « La tripe cinématographique », Solaris, no 81,‎ 1988, p. 41. []

Parution : New Queer Horror Film and Television

Darren Elliott-Smith, John Edgar Browning (dir.), New Queer Horror Film and Television, University of Wales Press, « Horror Studies », 2020. 

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. Continuer la lecture de Parution : New Queer Horror Film and Television

Parution : Women Who Kill. Gender and Sexuality in Film and Series of the Post-Feminist Era

Women Who Kill explores several lines of inquiry: the female murderer as a figure that destabilizes order; the tension between criminal and victim; the relationship between crime and expression (or the lack thereof); and the paradox whereby a crime can be both an act of destruction and a creative assertion of agency. In doing so, the contributors assess the influence of feminist, queer and gender studies on mainstream television and cinema, notably in the genres (film noir, horror, melodrama) that have received the most critical attention from this perspective. They also analyse the politics of representation by considering these works of fiction in their contexts and addressing some of the ambiguities raised by postfeminism.


The book is structured in three parts: Neo-femmes Fatales; Action Babes and Monstrous Women. Films and series examined include White Men Are Cracking Up (1994); Hit & Miss (2012); Gone Girl (2014); Terminator (1984); The Walking Dead (2010­); Mad Max: Fury Road (2015); Contagion (2011) and Ex Machina(2015) among others.

Continuer la lecture de Parution : Women Who Kill. Gender and Sexuality in Film and Series of the Post-Feminist Era

Appel : Théologie et horreur

Call for Abstracts – Theology and Horror, pour le 15 janvier 2019

Explorations of the relationship between religion and horror are fairly well established. However, this is not the case for theology and horror. Many times explorations of theology and horror involve simplistic readings in which theological concepts or doctrines are spotted within horror narratives and noted as points of connection. While this approach has its place, great possibilities exist for going deeper and wider in the exploration of horror and theology. Horror can be a subversive and edgy genre, and this doesn’t often connect well with conservative assumptions which underlie much of the theological enterprise. Theology is often neat and sanitized; horror is messy and dirty.

This volume seeks to do something different, and to break new ground. Along with exploring how theology is present in horror, this volume will seek to explore how theology can be changed and shaped by an interaction with horror. This can be illustrated with examples of possible topics:

Continuer la lecture de Appel : Théologie et horreur

Publication : Screening the Dark Side of Love: From Euro-Horror to American Cinema, Karen A. Ritzenhoff and Karen Randell

Karen A. Ritzenhoff and Karen Randell, Screening the Dark Side of Love: From Euro-Horror to American Cinema, Palgrave Macmillan.

Book presentation

This edited collection unpicks the ways in which love can be understood globally as a problematic and often violent transgression rather than the narrative of ‘happy endings’ that Classical Hollywood has offered. Its engagement with varying methodologies of history, textual analysis, psychoanalytic models and cultural critique ensures that the edition will be useful for courses taught across the globe on film, television and popular culture. The collection comprises of international scholars who engage with films that have been made from the margins to the mainstream of cinema to explore issues surrounding gender identity and spectatorship.

Content

  • Re-Imagining Censorship as ‘Reel’ Mutilation: Why not a G-rated Version of David Cronenberg’s Crash; J.S.Robinson
  • The Whip and the Body: Sex, Violence, and Performative Spectatorship in Euro-Horror S&M Cinema; A.I.Olney
  • Lars von Trier’s Anti Christ and the Australian ‘lost child’ Complex: Love, Loss and Emotional Indulgence; T.Waddell
  • Black Bucks and Don Juans: Violent Romances of Race and Sex in Jane Campion’s In the CutT.Lundy
  • Mad Love: The Anxiety of Difference in the Films of Lon Chaney Snr.; K.Randell
  • Love and Crime in Agatha Christie Films; M.Aldridge
  • Monstrous Love: Oppression, Intimacy, and Transformation in Mary Reilly (1996); C.Miller
  • Self-mutilation and Dark Love in Darren Aronofsky’s Black Swan (2010) and Michael Haneke’s The Piano Teacher (2000);K.A.Ritzenhoff
  • Female Pleasure and Performance: Masochism in Belle de Jour and Story of OS.Deighan
  • What’s in the Basket?: Sexualized and Sexualizing Violence in Frank Henenlotter’s Basket CaseL.Cunningham
  • Blood and Bravado: Violence, Eroticism, and Spain in Pedro Almodovar’s MatadorM.Morris
  • The Comedic Punch Line: Unpacking Scenes of Domestic Violence-as-humor in Tyler Perry Films; J.Hudson
  • Obsessed and Fatally Attracted: The Gender and Racial Politics of Obsessed; S.Leonard
  • High-Tech Pleasure: Seriality and Pornographic Body; S.Schaschek

Authors

KAREN A. RITZENHOFF is a Professor of Communication at Central Connecticut State University, USA, and a member of the Program for Women, Gender and Sexuality Studies. She teaches courses on women and film, mass media, film history, visual communication, American cinema and television production. She is co-editor of Sex and Sexuality in a Feminist World(2009) as well as co-editor of Leiden, Trauma, Folter: Bildkulturen des Irakkriegs,’ Augenblick: Marburger Hefte zur Medienwissenschaft (2011), a special issue of the Marburg Journal of Media Studies. Her article on Lisbeth Salander as the ‘Final Girl’ in the Swedish Girl Who films is included in Donna King and Carrie Lee Smith’s (eds.). Men Who Hate Women and the Women Who Kick Their Ass: Feminist Perspectives on Stieg Larsson’s Millennium Trilogy (2012).
KAREN RANDELL is Principal Lecturer in Film Studies at Southampton Solent University, UK. Her research interests are in film, gender, trauma and war. She is co-editor of Screen Methods: Comparative Readings in Film Studies (2006), The War Body on Screen (2008) and Reframing 9/11: Film, Popular Culture and the ‘War on Terror’ (2010). Randell is also published in Screen(2003), Art in the Age of Terrorism (2005), The Journal of Cinema Studies (2011) and Generation Zombie (2011). She is currently writing a monograph on Lon Chaney Snr.

More information : http://www.palgrave.com/products/title.aspx?pid=565387