When Siskel and Ebert famously launched their offensive against what they labeled as “Women in Danger films,” they effectively positioned slasher films as anti-feminist, exploitative, and lacking all artistic merit. But in the intervening years, this once much maligned sub-genre has enjoyed increasing acclaim for its subversive potential and reflection of cultural norms. This special issue seeks to examine the elements of the “new slasher” that potentially explain this shift.
We invite submissions on any 21st century slasher film(s). Emerging and advanced scholars, popular writers, and fans are invited to submit abstracts on any aspect of the sub-genre. We are especially interested in abstracts that engage with slasher film conventions. Possible topics include, but are not limited to:
- Slasher tropes reimagined
- Performance and identity
- The impact of critical acclaim upon horror’s association with ‘low-brow’ culture
- Monstrous nature and its evolution
- How camp and pastiche code audience reception
- Reboots and audience expectation
- Location and narrative dread
- Horror sub-genre crossovers
- Engagement with postmodernist theory
- Reflection of societal taboo
We would especially like to include articles on: Freaky, Halloween, Tucker and Dale vs. Evil, Black Christmas, and All the Boys Love Mandy Lane.
Please submit abstracts of 500 words and a brief bio to Dawn Keetley and Elizabeth Erwin at horrorhomeroom@gmail.com and dek7@lehigh.edu by July 15, 2020. Articles will be limited to 2,500 words and should be written for a general audience. Completed essays will be due September 15, 2020. We welcome all questions and inquiries!
