TV Horror conference: registration open!

Registration is now open for ‘At Home with Horror? Terror on the Small Screen’, a 3 day conference taking place at the University of Kent on Friday 27th October – Sunday 29th October 2017.

The keynote will be delivered by Dr Helen Wheatley (University of Warwick) and the programme features a great selection of papers, which you can view here: https://tvhomeofhorror.wordpress.com/

Many regular participants of Gothic Feminism will be there too, so we hope to see as many of you as possible!

To register, please visit: http://store.kent.ac.uk/product-catalogue/faculty-of-humanities/school-of-arts/arts-events/at-home-with-horror-terror-on-the-small-screen

For any queries please contact Katerina: kf214@kent.ac.uk

Image result for penny dreadful

Exciting new CFP: Women Make Horror

We are back after the summer and are thrilled to share an exciting opportunity to contribute to a new edited collection entitled: Women Make Horror: Filmmaking, Feminism, Genre, edited by Alison Peirse. The collection will be proposed for publication with Palgrave and potential contributors should get in touch with Alison by the 20th October 2017. You can find out more information below and here: Women Make Horror Edited Collection Overview. For further information or to suggest a chapter, please contact Alison here: alison.peirse@york.ac.uk

Women Make Horror: Filmmaking, Feminism, Genre
Edited Collection, Proposal to Palgrave October 2017
Edited by Alison Peirse
Overview
In the past five years, there has been a significant global breakthrough of women directors, screenwriters and producers working in the horror genre. Films such as The Babadook (2014, Jennifer Kent), A Girl Walks Home Alone at Night (2014, Ana Lily Amirpour) and Évolution (2015, Lucile Hadžihalilović) interrogate taken-for-granted assumptions about genre, feminism and gender. As a result, film festivals are changing. Major genre festivals such as Dead by Dawn (Glasgow) and Brussels International Fantastic Film Festival are now screening women-made films, including screenwriter Sarah Daly’s The Unkindness of Ravens (2016, Lawrie Brewster). New women-only horror festivals such as Atlanta’s Women in Horror and Tokyo’s Scream Queen FilmFest are springing up to screen the huge range of new shorts and features including Berkshire County (2014, Audrey Cummings) and Slut (2014, Chloe Okuno). These filmmakers then take advantage of the new circuits of distribution. As well as theatrical and DVD / Blu-ray releases, they are streamed on Netflix and Amazon Prime, as well as specialist horror streaming services Screambox and Shudder.
Films, filmmakers and television shows are also now garnering extensive and international critical interest. Prevenge (2016, Alice Lowe), Raw (2016, Julia Ducournau), XX (2017, Benjamin et al), Egomaniac (2016, Kate Shenton), The Bad Batch (2016, Ana Lily Amirpour) and The Love Witch (2016, Anna Biller) have all been recently profiled in Rolling Stone (2016), the Guardian (2017) and Sight and Sound (2017). Recently, Broadly announced ‘welcome to the golden age of women-directed horror’ (2017). Earlier this month, Drew Barrymore’s production company Flower Films announced the production of Black Rose Anthology, a television horror series created entirely by women.
However, this does not mean that working as a woman practitioner in the genre is now straightforward. Gender inequality remains a huge problem. In 2016, 92% of the top 250 grossing films in the USA were directed by men and 77% had no women writers (Lauzen, 2017: 1). In the past ten years, less than 12% of all UK films have been directed by women (Directors UK, 2016). Horror is the only genre where women have the most screen time and speaking roles (Narayanan et al, 2016), yet are least likely to be employed in behind-the-scenes jobs (Lauzen, 2016: 3). Producer Jennifer Handorf recently commented in Screen Daily, ‘At FrightFest they still only had four films out of seventy from female directors. That’s not bragging rights’. Relatedly, in academia, horror has long been considered a misogynist genre, and much scholarship has identified horror film history as the domain of the male auteur, creating texts based on images of female fear for a presumed male audience and male pleasures. This leads us to the major problem that this project will investigate.
There is a substantial gap in academic thinking about women and horror film and TV, and a significant lack of work on genre in scholarly analyses of women horror practitioners. In academia, we lack any critical or methodological tools to investigate this complex and contradictory state of affairs. In the 1990s, genre scholarship began to tentatively reflect upon the potential pleasures of horror for a female audience (Williams, 1991). There was a brief turn to consider women as real horror film audiences (as opposed to hypothetical spectators) (Cherry, 1999) but this has gained little traction. In academia, women do not make horror films. They are on screen, to be looked-at, or, at best, they are now able to look. Similarly, in existing scholarship on women filmmakers, and in gender inequalities in media industries, horror is almost never discussed. There is a complete absence of engagement with the potential feminist implications of horror films by women, working in a genre that they are told is not for them, and in an industry that discriminates against them (see the Equal Employment Opportunity Commission’s 2017 ruling that major studios systematically discriminate against women directors).
In addition, the research for this proposal has revealed that the above surge in women-made horror is not entirely unprecedented. There is an invisible history of women working in the horror genre since the 1950s. However, it is entirely undiscussed in horror film histories, which are written by male writers about male practitioners. This historical, critical and methodological gap is so obvious, and explicit, it’s now left to the filmmakers themselves to engage with this problem. As writer-director Jovanka Vuckovic explains, ‘XX is a direct response to the lack of opportunities for women in the horror genre in particular… an area where women have been historically misrepresented onscreen and under-represented behind the camera’.
Research Questions
No scholar has yet asked what happens in horror when sense-making is done by women, rather than done to women. This project raises and then answers this question. As a whole, it is underpinned by three interlocking sets of research questions:
1. Cultural perception. Horror is a misogynist genre (Hunt, 1992; Rieser, 2001). How can a woman want to make these films (let alone watch them)? Do the women who make these films consider themselves feminist, or that their films are feminist? Why?
2. The Politics of Storytelling. What kinds of stories are told in these films? How do
they represent women? Are they distinctive from, or similar to, stories told in horror
films made by male teams?
3. The Politics of Authorship. Paraphrasing Annette Kuhn’s Women’s Pictures, a
horror film made by a woman may not be feminist, and men may make feminist horror films. So, what makes a horror film either a) a woman’s film or b) feminist? Is it the attributes of the author, attitudes inherent in the work, or because of the way the film can be read?
The project utilises a variety of methodological approaches, across numerous disciplines, from a range of academics who are at different stages in their careers. It will illuminate the impact of women horror practitioners on a genre long considered to be created by men for male audiences, and canonised as such by male scholars. It charts the contributions of women to the genre since the 1950s, then analyses and contextualises the new wave of women horror filmmakers. It explores not only their understanding of and experience of feminism within an industrial context, but also the key story tropes that emerge in women-made horror film. It develops new interdisciplinary methods and approaches for studying the relationship between filmmaking, feminism and genre. In sum, it will create: a) an alternative feminist history at odds with prevailing academic studies of the horror genre, b) a new, interdisciplinary research area across (at the very least) horror studies, feminist film theory and media industry studies, and c) a set of analytical and methodological tools with which to analyse contemporary working practices in genre filmmaking.

Definitions
1. In terms of filmmaking texts, I am happy to look (way) beyond theatrical, feature length releases, to readily encompass shorts, television plays and series, VoD, streaming services, web series etc. I’m very interested in independent / no / low budget and short productions – this is the arena in which many women are working.
2. I’m also keen to explore cultural frameworks for developing and publicising women practitioners and horror, such as horror film festivals and women-only festivals (e.g. Frightfest, Atlanta’s Women in Horror), women writing about horror film / horror film magazines (e.g. Kat Ellinger / Diabolique), the development of streaming services (e.g. BlackBox Tv Studios), podcasts and vlog creators, funding initatives for women / horror practitioners (e.g. BAFTA Elevate, Warp X’s Darklight)
3. There is no limitation on academic approach. Formal / theoretical analysis is grand, as is media industries, audience and reception studies, exploitation and distribution, specific studios, practitioner interview and contextualisation, analysis of screenplays / production documentation, etc. The wider the range of methodologies across the collection the better. If you have a text that you feel passionate about, and fits with the collection, but don’t feel you have industry ‘data’ or practitioner or archival access to support your approach, that is OK. For example, if you want to look at a film or practitioner in terms of national cinemas, the European avant-garde, the gothic, etc., please do not be put off. An important element of this book will be highlighting the role women played in creating iconic films – and simply discussing this as a fact is important in and of itself. So, even if you can’t get Juliet Snowden to talk to you about writing 2014’s Ouija (!), the fact that you will frame your analysis within the context of the woman’s contribution makes your work valuable to this collection.
Equally, historical overviews of the changing theoretical approaches to women academics studying horror film (e.g. Clover, Creed, Williams, Pinedo) and a consideration of their work in the current filmmaking climate are most welcome.
4. In terms of practitioners, most of this proposal has been written with screenwriters, producers and directors in mind, as this is where my own interests in storytelling lie. However, I am very keen to extend this out to include all above the line roles (e.g. actor) and definitely below-the-line crew (DoP, editor etc).
Initial Indicative List of Potential Films
(but please do feel free to go way beyond this list, and think about telly, web series etc).
1960s – 1970s
• Blood Bath (1966, wr & dir Stephanie Rothman & Jack Hill, Yugoslavia / US, feature)
• The Velvet Vampire (1971, co-wr & dir Stephanie Rothman, USA / Phillipines, feature)
• Halloween (1978, John Carpenter, co-wr & pr Debra Hill, USA, feature)
1980s
• The Fog (1980, John Carpenter, co-wr & co pr Debra Hill, USA, feature)
• The Slumber Party Massacre (1982, Amy Holden-Jones, wr Rita Mae Brown, USA, feature)
• The Sorority House Massacre (1986, Carol Frank, USA, feature)
• Blood Diner (1987, Jackie Kong, USA, feature)
• The Slumber Party Massacre II (1987, dir, wr & co-pr Deborah Brock, USA, feature)
• Near Dark (1987, co-wr & dir Kathryn Bigelow, USA, feature)
• Pet Sematary (1989, Mary Lambert, USA, feature)
• Dance of the Damned (1989, co-wr & dir Katt Shea, USA, feature)
1990s
• The Slumber Party Massacre III (1990, dir Sally Mattison, wr & pr Catherine Cyran, USA, feature)
• Mirror Mirror (1990, Marina Sargenti, wr Annette & Gina Cascone, USA, feature)
• Freddy’s Dead: The Final Nightmare (1991, Rachel Talalay, USA, feature)
• Tale of a Vampire (1992, wr & dir Shimako Sato, UK, feature)
• Organ (1996, wr, dir & cin Kei Fujiwara, Japan, feature)
• Office Killer (1997, Cindy Sherman, USA, feature)
• The Rage: Carrie 2 (1999, Katt Shea, USA, feature)
• Ravenous (1999, Antonia Bird, Czech / UK / USA, feature)
2000s
• American Psycho (2000, co-wr & dir Mary Harron, co-wr Guinevere Turner, USA, feature)
• Ginger Snaps (2000, John Fawcett, wr Karen Walton, pr Karen Lee Hall, Canada, feature)
• Trouble Every Day (2002, co-wr & dir Claire Denis, France / Germany / Japan, feature)
• Ginger Snaps 2: Unleashed (2004, Brett Sullivan, wr Megan Martin, pr Paula Devonshire, Canada, feature)
• Ginger Snaps Back: The Beginning (2004, Grant Harvey, wr Christina Ray, pr Paula Devonshire, Canada, feature)
• Pathogen (2006, wr & dir Emily Hagins, USA, feature)
• The Dead Outside (2008, co-wr & dir Kerry Anne Mullaney, UK, feature)
• Amer (2009, wr & dir Hélène Cattet & Bruno Forzani, France/Belgium, feature)
• The Retelling (2009, wr & dir Emily Hagins, USA, feature)
• Jennifer’s Body (2009, dir Karyn Kusama, wr Diablo Cody, ed. Plummy Tucker, USA, feature)
2010s – (split into features, anthologies, shorts)
Shorts
• Goodnight My Love (2012, Kellee Terell, USA, short)
• Slut (2014, wr & dir Chloe Okuno, USA, short)
• Blame (2014, wr & dir Kellee Terell, USA, short)
• El Gigante (2014, Gigi Saul Guerrero & Luke Bramley, Canada, short)
• The Stylist (2016, Jill Sixx Gevargizian, pr Sarah Sharp, USA, short)
• Nasty (2016, co-wr & dir Prano Bailey-Bond, UK, short)

Or, the brand-new, 2017 #weareweirdos tour, organised by The Final Girls, featuring female-directed horror shorts: The Puppet Man (Jacqueline Castel), Undress Me (Amelia Moses), Pulse ( Becki Pantling), I Should Have Run (Gabriela Staniszewska), Sorry We’re Closed (Alexis Makepeace), A Mother of Monsters (Julia Zanin de Paula), Dead.Tissue.Love (Natasha Austin-Green), Don’t Think of a Pink Elephant (Suraya Raja), Shortcut (Prano Bailey Bond), I Want You Inside Me (Alice Shindelar).
Anthologies
• The ABCs of Death (2012, inc wr & dir Hélène Cattet, USA / NZ, anthology)
• V/H/S (2012, inc. pr Roxanne Benjamin, cin Victoria K. Warren, USA, anthology)
• The ABCs of Death 2 (2014, inc wr & dir Kristina Buožytė; dir Jen & Sylvia Soska; pr Jenn Wexler, multiple countries, anthology)
• Southbound (2015, anthology, wr, dir & pr Roxanne Benjamin; wr Susan Burke, USA anthology)
• Holidays (2016, anthology, inc. wr, dir & ed Sarah Adina Smith, dir Ellen Reid, cin Rebecca Joelson, USA, anthology)
• XX (2017, wr, dir & pr Roxanne Benjamin, wr & dir Karyn Kusama, co-wr & dir Jovanka Vuckovic, co-wr & dir Annie Clarke, Canada / USA, anthology)
Features
• Silent House (2011, Chris Kentis & Laura Lau; pr Laura Lau, France, feature)
• Kill List (2011, Ben Wheatley, co-wr & ed Amy Jump, UK, feature)
• American Mary (2012, wr & dir Jen & Sylvia Soska, Canada, feature)
• Soulmate (2013, wr & dir Axelle Carolyn, UK, feature)
• The Borderlands (2013, Elliot Goldner, pr Jennifer Handorf, UK, feature)
• Carrie (2013, Kimberley Peirce, co-ed Nancy Richardson, USA, feature)
• Ritual (2013, Mickey Keating, pr Chelsea Peter, ed Valerie Krulfeifer, USA, feature)
• Warm Bodies (2013, Jonathan Levine, ed Nancy Richardson, USA / Canada, feature)
• What We Do in the Shadows (2014, Jemaine Clement &Taika Waititi, ed Yana Gorskaya, New Zealand, feature)
• Goodnight Mommy (2014, wr & dir Veronika Franz & Severin Fiala, Austria, feature)
• The Babadook (2014, wr & dir Jennifer Kent, pr Kristina Ceyton, Australia / Canada, feature)
• Honeymoon (2014, co-wr & dir Leigh Janiak, pr Esme Howard, musHeather McIntosh, USA, feature)
• Tormented / Berkshire County (2014, dir & pro Audrey Cummings, Canada, feature)
• A Girl Walks Home Alone at Night (2014, wr & dir Ana Lily Amirpour, USA, feature)
• Inner Demon (2014, wr & dir Ursula Dabrowsky, pr Sue Brown & Julie Byrne, Australia, feature)
• The Lesson (2015, wr & dir Ruth Platt, UK, feature)
• Rage: Midsummer’s Eve (2015, wr, dir & ed Tii Ricks, co-ed Maria Haipus, USA, feature)
• Green Room (2015, Jeremy Saulnier, ed Julie Bloch, USA, feature)
• Évolution (2015, co-wr & dir Lucile Hadžihalilović, pr Ángeles Hernández & Sylvie Pialat, France / Belgium / Spain, feature)
• The Invitation (2015, Karyn Kusama, pr Martha Griffin, ed Plummy Tucker, USA, feature)
• The Unkindness of Ravens (2016, Lawrie Brewster, wr Sarah Daly, UK, feature)
• Egomaniac (2016, wr, dir, pr & ed Kate Shenton, pr Sarah Barker, UK, feature)
• The Bad Batch (2016, wr & dir Ana Lily Amirpour, USA, feature)
• Prevenge (2016, wr & dir Alice Lowe, pr Jennifer Handorf, UK, feature)
• Viral (2016, Henry Joost & Ariel Schulman, wr Barbara Marshall, pr Sheryll Clark, cin Magdalena Górka, USA, feature)
• Blood Hunters (2016, dir & pr Tricia Lee, ed Jane MacRae, Canada, feature)
• Raw (2016, wr & dir Julia Ducournau, France / Belgium / Italy, feature)
• The Neon Demon (2016, Nicolas Winding Refn, co-wr Mary Laws & Polly Stenham, pr Lene Børglum, cin Natasha Braier, Denmark / France / USA, feature)
• The Love Witch (2016, wr, dir, pr, mus & ed Anna Biller, USA, feature)
• Wish Upon (2017, John R. Leonetti, wr Barbara Marshall, pr Sheryll Clark, USA / Canada, feature)
• The Bye Bye Man (2017, Stacy Title, USA / China, feature)
Potential Practitioner Case Studies:
• screenwriter Barbara Marshall
• editor Amy Jump
• director Stephanie Rothman
• writer / director Kei Fujiwara
• producer Jenn Wexler
• director Anna Biller
• producer / director Roxanne Benjamin
• producer / writer Debra Hill
• writer / director Jen & Sylvia Soska (AKA the Twisted Twins)
• writer / director Ana Lily Amirpour
• producer Jennifer Handorf
• editor Plummy Tucker and / or Tucker’s collaboration with director Karyn Kusama.
Potential Film Festival Case Studies:
Scream Queen FilmFest (Japan); Women in Horror (USA), Underwire (UK), Stranger With My Face (Australia), Abertoir (Wales), Frighfest (UK), Dead by Dawn (UK), Etheria Film Night (USA), Sitges (Spain), BIFF – Brussels International Fantastic Film Festival (Belgium), PiFAN – Bucheon Int. Fantastic Film Festival (South Korea), Screamfest (USA)
Provisional Timetable
• January 2018
Proposal accepted by Palgrave, contract sent out
• October 2018
5000 – 7000 word chapters due
• December 2018
Edited chapters returned to authors for final submission
• February 2019
Final submission chapters returned to editor
• Summer 2019
Book submission to Palgrave
• Spring – Summer 2020
Book publication. Champagne and feasting.

Conference Closing Remarks

My sincerest thanks to everybody who came to participate in and support our second Gothic Feminism conference on the representation of women in Gothic and horror cinema.

A special thank you to our keynote speaker Dr Xavier Aldana Reyes for his excellent keynote which perfectly captured the mood and themes of this conference by talking about “What Final Girls Did Next: Horror Heroines in the Age of Postfeminism”. Xavi’s talk opened events and, in a particularly apt fashion, placed an emphasis upon feminism and the discourses of post-feminism. Gothic Feminism is, of course, the name of our research group which generated this conference and the name is no accident: the aim of the group is to unapologetically focus on women and their representation on the cinema screen. Our activities are relatively modest but we do sincerely hope to contribute to that under-researched area of the Gothic in film which Xavi identified in his talk.

The name Gothic Feminism also poignantly incorporates two particular points Xavi emphasised in his talk. First Xavi asserted how the Gothic and horror provide “empowering tools through which to study gender representation”, as well as related issues such as the study of women filmmakers and reception studies (but with a view to avoid essentialist conclusions). Second, there is a sense that cinema (and particularly contemporary cinema) actively engages with these discussions and provides a forum through which we can explore the complexities of feminism and post-feminism (or, as Xavi’s talk discussed, post-feminisms) in the 21st Century.

In my opening remarks and response to Xavi’s talk, I mentioned how many of the above issues are also embodied by the slippage in definitions and boundaries between Gothic and horror. As the call for papers for this event highlighted, Gothic and horror each have their own distinctive traditions for female representations yet these are very much comparable in respect to the mode or genre’s relationship to feminism: in both Gothic and horror, we have films which have central, female protagonists who have narrative and visual agency, and yet whose activities are contained within stories of violence, threat and oppression. The difficult question Gothic and horror equally pose is: are these texts exploitative in their representations, or are they using such plots in order to challenge, undermine and ultimately challenge the inequality of women experienced in real life?

And it is testament to this similarity between Gothic and horror in respect to women that the key examples Xavi identified in his talk could be classified as either or both. These include: Crimson Peak, The Witch and Under the Shadow. These examples are horror films – and one could argue for the presence of the archetypal Final Girl in each of these narratives – and yet Xavi also notes how these women are Gothic heroines. So we must ask ourselves: what relationship does Gothic have to horror – or horror to the Gothic – in respect to female representation? What can we say about the centrality given to female performance in both these genres/modes? How does this relate to feminism?

How does one define this feminism or post-feminism? Should we, following on from Xavi’s talk, be discussing the concept in a way which emphasises multi-faceted approaches? Therefore should we speak of Gothic or horror feminisms? And, in light of this, are the women in these films ultimately women-in-peril of the Gothic heroine kind, or are they Final Girls, or are they both?

The Gothic and horror genre is (to borrow Xavi’s terminology once again) a “language” through which to discuss these issues. This conference enabled us to begin a fruitful debate which extends this language, establishing an inclusive but diverse vocabulary in order to explore the connections between feminism, female representation, the Gothic and horror.

In doing so, the conference far exceeded our expectations in that we saw papers which covered a broad range of films, topics and female protagonists, highlighting discourses between texts under the heading of Gothic and horror. This conversation opened with Crimson Peak as the film nicely exemplifies the blurring between these two within contemporary film, but this was only a fragment of the wider discussion. We have taken a journey through cinematic history where the heroines may be old or young, the victim or the aggressor, human or supernatural or mechanical, and maybe not even gendered at all; or, at least, gender is highlighted to be another construction, a concept of porous definitions.

This debate on Gothic and horror has highlighted mainstream films, particularly those made in the US, but it also crossed national boundaries, as well as genres and even mediums: this discussion is just as relevant to television and videogames.

There were several recurring themes: the works of Doane, Clover, Kristeva and Creed were cited often, and Freudian analysis – particularly the evocation of the uncanny – haunted many of the papers given. There was an on-going debate on the question of genre: what makes a Gothic or horror film, and what term should be used to incorporate such definitions? Over the course of the conference, various names were utilised and discussed, including: Gothic, horror, Female Gothic, Gothic Romance, Gothic fairy tale, eco-Gothic, melodrama, film noir (or neo-retro noir), Gothic horror, comedy, folk horror, slasher film, possession films, vampires, survival horror.

The diversity of genre labelling possible also speaks to another central theme of the conference: the tensions that exist between borders and the subversion of these perceived boundaries. The variety of genres listed above are a good example of this, which many papers explored by discussing how conventional genre tropes could be undermined or transformed in the representation of the central female protagonist. Importantly, many papers highlighted how this process exists as a dialectic relationship with its knowing audience: contemporary films, in particular, draw upon and then subvert the viewer’s previous conceptions of the conventional Gothic heroine or Final Girl. This raised another important issue implicit in several presentations: one must consider how the women on screen relate to spectators in real life as this, of course, has significant ramifications in how such texts relate to feminist discourses.

During the conference there was a panel called “transgressive women” and, indeed, the term perhaps best describes the protagonists seen in these films and shows. These women defy easy definitions or categorisation and, together, these heroines present a complex and complicated picture of how women in Gothic and horror are represented. And that, perhaps, is the most important point: these characters necessitate the need for interpretation and evaluation as we assess how these stories of fear and terror exploit, celebrate or appropriate these tales in their depiction of the female experience.

And I am reminded once again of Xavi’s phrase from his keynote: Gothic and horror are “empowering tools through which to study gender representation.”

So we end where we started, at the beginning of this event with Xavi’s talk on feminism and this, I think, is particularly apt: as the conference has helped to show it is within feminism, post-feminism or feminisms which is where all conversations of this topic should begin, and not end.

Thank you all so much again for your contributions to the event.

Photo 26-05-2017, 13 59 52

Conference this week!

Gothic Feminism 2017 is nearly upon us and here are just some final reminders for those travelling to Kent this week:

Conference location

The conference will take place in the Grimond building on the Canterbury campus of the University of Kent:

Grimond Building

University of Kent

Canterbury

Kent

CT2 7NZ

You will find the registration desk in the foyer area directly in front of you as you enter through the main entrance.

Registration

Registration will take place between 9am – 9.30am.

The conference shall begin at 9.30am.

Travelling to Kent

For further information on travelling to Kent, please see: https://gothicfeminism.com/travelling-to-kent/

Film screening

For those of you who have reserved a cinema ticket, The Eyes of My Mother screening will take place at the Canterbury Curzon at 7pm on Thursday 25th May, located here:

Westgate Hall Road

Canterbury

CT1 2BT

If you reserved a ticket, your name has already been sent to the Curzon. On the night of the screening you will need to collect and pay for your ticket (which will be £10.50). When collecting your ticket, tell the staff you are part of the Gothic Feminism conference and have a reservation (to ensure you receive the discount).

If you have not reserved a ticket but would like to attend the screening, then there may still be tickets available on the day. You are advised to visit the Curzon box office on the day and ask if there are any seats available. If so, you should again say you are part of the Gothic Feminism conference so that you receive the same discount.

Auteur Publishing stall

We are very lucky this year to be joined again by John from Auteur Publishing who will have a stall with a selection of titles on Gothic and horror available to buy. So do take a look and maybe treat yourself to a book or two?!

Conference report

We are looking for a volunteer to write a conference report of the three days to be published in a special issue of a journal. If you are interested in writing the report then please do get in touch.

 

We look forward to seeing you soon!

GothFem2 logo

Get Out at the Gulbenkian

Dr Frances A. Kamm (me!) will be providing the introduction for the hugely successful Get Out at the Gulbenkian cinema on Tuesday 9th May at 7pm.

Get Out is the directorial debut of Jordan Peele and produced by Blumhouse Productions, and the film has been widely praised by critics and audiences alike. The film tells the story of Chris, who is in a interracial relationship with Rose, as he visits the latter’s parents and meets her strange extended family…

The introduction shall reflect upon the film’s success as a small-budget horror film, outlining why the film has been celebrated for its discussion of race and the African-American experience, particularly from the perspective of a young, black man. I shall also discuss the influences which are present in the film, including how the Gothic can be seen inspire the film’s narrative and tone, with the topic of gender now supplanted by discourses on race.

Tickets for the film are available here. (Please note: students are able to purchase 2 for 1 tickets for this screening).

I hope to see you there!

get out

Call for papers: At Home with Horror?

Our colleagues at the University of Kent, and members of the Gothic Feminism group,  Katerina Flint-Nicol and Ann-Marie Fleming have announced an exciting call for papers on horror on television. The conference will take place at Kent on the 27th – 28th October 2017 – just in time for Halloween! – and the keynote speaker will be Dr Helen Wheatley. Please see the CFP below. All queries should be directed to horrorishome@gmail.com and you can find out more information here: https://tvhomeofhorror.wordpress.com/

Flyer #2

At home with horror? Terror on the small screen
27th-28th October 2017
University of Kent
Keynote speaker: Dr Helen Wheatley (University of Warwick)
CALL FOR PAPERS
The recent horror output on TV and the small screen challenges what Matt Hills found to be the overriding assumption ‘that film is the [horror] genre’s ‘natural’ home’ (Hills 2005, 111). Programmes such as American Horror Story, Penny Dreadful and The Walking Dead are aligned to ‘‘quality TV’, yet use horror imagery and ideas to present a form and style of television that is ‘not ordinary’’ (Johnston 2016, 11). Developments in industrial practices and production technology have resulted in a more spectacular horror in the medium, which Hills argues is the ‘making cinematic’ of television drama (Hills 2010, 23). The generic hybridity of television programmes such as Whitechapel, and Ripper Street allow conventions of the horror genre to be employed within the narrative and aesthetics, creating new possibilities for the animation of horror on the small screen. Series such as Bates Motel and Scream adapt cinematic horror to a serial format, positioning the small screen (including terrestrial, satellite and online formats) as the new home for horror.
The history of television and horror has often displayed a problematic relationship. As a medium that operates within a domestic setting, television has previously been viewed as incompatible with ‘authentic’ horror. Television has been approached as incapable of mobilizing the intense audience reactions associated with the genre and seen as a medium ‘restricted’ in its ability to scare and horrify audiences partly due to censorship constraints (Waller 1987) and scheduling arrangements. Such industrial practices have been seen as tempering the genre’s aesthetic agency resulting in inferior cinematic imitations or, ‘degraded made-for-TV sequels’ (Waller 1987, 146). For Waller, the technology of television compounded the medium’s ability to animate horror and directed its initial move towards a more ‘restrained’ form of the genre such as adapting literary ghost stories and screening RKO productions of the 1940s (Ibid 1987). Inferior quality of colour and resolution provided the opportunity to suggest rather than show. Horror then, has presented a challenge for television: how can the genre be positioned in such a family orientated and domesticated medium? As Hills explains, ‘In such a context, horror is conceptualised as a genre that calls for non- prime-time scheduling… and [thus] automatically excluded from attracting a mass audience despite the popularity of the genre in other media’ (Hills 2005, 118).
Helen Wheatley’s monograph, Gothic Television (2006), challenges the approach of television as a limiting medium for horror, and instead focuses on how the domestic setting of the television set is key to its effectiveness.  Focusing on the female Gothic as a domestic genre, Wheatley draws a lineage from early literary works, to the 1940s cycle of Gothic women films and Gothic television of the 1950s onwards. Wheatley argues for the significance of the domestic setting in experiencing stories of domestic anxiety for, ‘the aims of the Gothic drama made for television [are] to suggest a congruence between the domestic spaces on the screen and the domestic reception context’ (Wheatley 2006, 191).
Developments in small screen horror are not restricted to contemporary output. In his work on the cultural history of horror, Mark Jancovich argues that it was on television in the 1990s where key developments in the genre were taking place (Jancovich 2002). Taking Jancovich’s work as a cue, Hills develops his own approach to the significance of horror television of the 1990s. Hills cites Buffy the Vampire Slayer and The X Files as examples of programmes striving to mobilise the genre’s more graphic elements while existing as a ‘high-end’ cultural product: ‘authored’ TV that targeted a niche fan audience (Hills 2005, 126). 
Taking these recent developments into account, the aim of this conference is to engage with such advances. Can we say that it is on the small screen where critical and creative innovations in horror are now being made? How has the expansion of satellite television and online sites impacted the genre? How has the small screen format developed the possibilities of horror? Is the recent alignment with ‘quality TV’ evidence of horror’s new mainstream status? This conference will also reflect on seminal works on television horror and revisit the history of the genre. In addressing these questions the conference will underline the importance of the small screen for horror, within the study of the genre and of the medium, and ask: is the small screen now the home of horror?  
Topics can include but are not limited to:
  • The seasons and horror on the small screen
  • Gothic television
  • Gender and horror
  • Historical figures and events in small screen horror
  • Small screen horror as an ‘event’
  • Adaptation from cinema to small screen ‘re-imaginings’
  • Production contexts
  • Censorship and the small screen
  • Serialisation and horror production
  • National television production of horror
  • The impact of Netflix and Amazon Prime
  • TV history and horror
  • Literary adaptations
  • Children’s TV and horror
  • Genre hybridity
  • Fandom
  • Teen horror
  • Stardom and horror
Please submit proposals of 400 words, along with a short biographical note (250 words) to horrorishome@gmail.com by Friday 30th June. We welcome 20 minute conference papers as well as submissions for creative work or practice-as-research including, but not limited to, short films and video essays.
Conference organisers: Katerina Flint-Nicol and Ann-Marie Fleming

The Handmaiden at the Curzon

Park Chan-wook’s The Handmaiden will be screening at the Curzon in Canterbury from tomorrow, including with a very special introduction by Gothic Feminism’s Dr Tamar Jeffers McDonald! Tamar will be giving an introduction to the film on Saturday 15th April at 2.25pm. This screening will also be a special director’s cut version of the film which features an extra 20 minutes of footage.

The screening and introduction are part of the wider Gothic Feminism project exploring the representation of women on screen in Gothic cinema. Purchase your tickets from the Curzon website here.

The Handmaiden

Conference screening: The Eyes of My Mother at the Curzon

We are very excited to announce that, as an extension to the conference proceedings, we will be hosting a screening of The Eyes of My Mother (2017) at the Curzon cinema in Canterbury. The screening will take place at 7pm on Thursday 25th May and will be introduced by our keynote speaker Dr Xavier Aldana Reyes.

To attend the film screening as part of the conference, please see the details below.

For registered delegates:

If you have already registered for the conference, we are able to offer you the opportunity to purchase a ticket to the screening at the reduced price of £10.50. In order to take advantage of this offer, could you please confirm to me via email (gothicfeminism2016@gmail.com) that you will be attending the film screening by Friday 28th April.

The Curzon will then reserve your ticket for you and you will need to pay them directly for it on the night of the screening. (Please note: we kindly request that you only reserve a ticket if you intend to pay for it and attend the screening).

For non-registered delegates:

If you have not yet registered for the conference and would like to take advantage of the above offer, please complete conference registration ASAP here: http://store.kent.ac.uk/product-catalogue/faculty-of-humanities/school-of-arts/arts-events/gothic-feminism-conference-2017 

Once you are registered, please follow the instructions above and again let me know by Friday 28th April that you will be attending the film screening so I can reserve a ticket for you at the Curzon.

 

We hope you will be able to take advantage of this offer and attend this exciting event!

EOMM-facebook