Culture Wars and Horror Movies

Social Fears and Ideology in post-2010 Horror Cinema
2024
ISBN: 978-3-031-53835-3
Verlag: Springer Nature Switzerland

Buch, Englisch, 231 Seiten, Format (B × H): 153 mm x 216 mm, Gewicht: 433 g

In this volume, contributors explore the deep ideological polarization in US society as portrayed in horror narratives and tropes. By navigating this polarized society in their representation of social values, twenty[1]first-century horror films critically frame and engage conflicting and divisive ideological issues. Culture Wars and Horror Movies: Social Fears and Ideology in Post-2010 Horror Cinema analyses the ways in which these “culture wars” make their way into and through contemporary horror films, focusing on the post-2010 US context and its fundamental political divisions.

Zielgruppe

Research

Autoren/Hrsg.

M. Méndez-García, Carmen

Gregorio-Fernández, Noelia

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmgattungen, Filmgenre

Inhaltsverzeichnis

Part I: White Anxieties: Current Challenges.- 1. “Black Bodies/White Spaces: The Horrors of White Supremacy in Get Out (2017)” Hervé Mayer.- 2. “Postmodern Reality and the Post-Truth Era in It Comes at Night (2017), The Invitation (2015), and The Gift (2015)” Fernando Gabriel Pagnoni Berns.- 3. “‘I Can’t (Don’t) Breathe’: White Veterans and Twenty-First-Century Culture Wars "James Deutsch.- 4. “Midsommar (2019) and the Unbearable Whiteness of Horror "Donald L. Anderson. Part II: Economic Exploitation and Neoliberalism.- 5. “Preying on the Other: Culture War Narratives in Horror Hunting Films”Melenia Arouh and Daniel McCormac.- 6. “Hunting Humans: Allegories of Socioeconomic Dispossession across National Boundaries”Pablo Gómez-Muñoz.- 7. “‘We’re Americans’: Objective Violence and the Wounds of Neoliberalism in Jordan Peele’s Us(2019)”Fabián Orán Llarena.- 8. “Obliteration of the Unfit: Disposable other Bodies and Economic Privilege in the The Purge film series”Gamze Kati Gümüs.- 9. “Zombie Movie Ideology: A Panoramic Perspective”Peter Dendle.- Part III: Race Matters.- 10. “‘Tell Everyone’: Abjection and Social Justice in Candyman (2021)”Victoria Santamaría Ibor.- 11. “‘Say His Name’: Candyman (2021) as a Critique of Black Trauma Porn”William Chavez.- 12. “‘We Have Met the Enemy…’: Identity, Otherness, and the Return of the Oppressed in Jordan Peele’s Us (2019)” Thomas B. Byers.

Über Autor(innen)

Noelia Gregorio-Fernández is an Associate Professor of American Studies at the International University of La Rioja, Spain. She was a visiting scholar at the Center for the Study of Ethnicity and Race at Columbia University, New York (USA), and is the author of The Rebel of Chicano Cinema: Robert Rodriguez in the Transnational Era (2020).

Carmen M. Méndez-García is an Associate Professor of American Literature at the Department of English Studies, Universidad Complutense de Madrid Spain. Current research and teaching interests include twentieth and twenty-first-century U.S. literature, postmodernism and contemporary fiction, the Countercultures in the U.S., Spatial studies, Gender studies, and Medical Humanities.