Posted on October 29, 2022

Don’t Throw Away The Baby or the Bathwater

Guest Post

There are few sights so satisfying in horror film as the truly evil young. In a culture that revolves around the sacrosanct child, now even going so far as to prioritize not-yet-children’s lives over that of their vessel/mothers, it is cathartic to see horror films and TV series acknowledging that children are not always innocent and sweet. In fact, at times they can be little monsters.

Whether it is Regan pissing and vomiting in The Exorcist (1973), the bright-eyed children from hell in Village of the Damned (1960), or the fanged newborn in It’s Alive (1974), the evil child points to both the hellish expectations that can accompany parenthood and our own desires to flee conventions. Through horror films we can vicariously become what Andrew Scahill calls “the revolting child,” an embodiment of our desire for anti-heteronormative liberation. Read more

Posted on October 23, 2022

Inheritor of Charismatic Spiritualism- Tangina Barrons in Poltergeist

Guest Post

In Poltergeist (1982), director Tobe Hooper and writer Steven Spielberg created a haunted house that ditched cobwebs in favor of wall-to-wall carpeting, central air conditioning, and a family television set turned scrying mirror. A panoply of characters fill Poltergeist, but no one outshines spirit guide Tangina Barrons. Actor Zelda Rubinstein’s magnetism poured from her 4’3″ frame, evoking the nineteenth-century Spiritualism movement’s tradition of empowered and charismatic mediums communing with the spirit realm.

Poltergeist centers on a suburban California family, the Freelings, and the supernatural abduction of the youngest daughter, Carol Anne (Heather O’Rourke). Diane Freeling (Jo Beth Williams) is a counter-culture figure who emotionally connects the viewer to the otherworldly kidnapping, emphasizing the metaphysical bond between a birth mother and child. Diane’s spouse, Steven (Craig T. Nelson,) is a loving father but absent from most of the family’s daily life, establishing skepticism and confusion. While the hustle of the modern world frays the Freelings, they remain a bound and loving family. Gnawing at that unity is the paranormal kidnapping of their youngest child. That child, lost within the newly-built dream domicile, can only be wrestled from the clutches of a tortured soul, The Beast, with the help of another. Read more

a bloodied girl stands on an open road
Posted on October 19, 2022

Body Shaming Slasher Piggy Cuts Deeper Than Your Usual Revenge Horror

Guest Post

The poignant opening scene of Carlota Pereda’s provocative horror drama Piggy establishes that the Spanish director hasn’t just expanded but elaborated the troublesome themes her 2018 short film of the same name addresses in merely 14 minutes. Sociable sadism, passive power, and the confusing ability of revenge to be both cathartic and contaminating are at the hurting heart of this unusual teenie slasher.

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video game character bleeding
Posted on October 15, 2022

Night at the Gates of Hell Review: A Bricolage of American-Inspired Italian Horror Cinema and Japanese Video Games

Guest Post

Published by Puppet Combo’s Torture Star Video, Jordan King and Henry Hoare’s post-apocalyptic video game Night at the Gates of Hell embodies a zealous homage to zombie cinema and survival horror games of the past. Like Bloodwash, Torture Star video’s preceding game, Night at the Gates of Hell pays tribute to Italian horror cinema – this time to the gore-drenched work of Lucio Fulci and Bruno Mattei. Unlike its predecessor, though, Night at the Gates of Hell is combat-heavy, longer in duration, and, above all else, full of flesh-eating monstrosities!

Players of Night at the Gates of Hell take control of David, a widowed man fighting for survival in a world overrun by the undead. Throughout his journey, David meets a variety of bizarre characters, including a small child (who may in fact be an adult masquerading as a child) and a perpetually naked prisoner. Characters from Bloodwash also appear in Night at the Gates of Hell, such as the loveable nice-guy Stan and the Creepy Guy, who cameos as a zombie in the game’s second level. Adding to the game’s range of characters is a plethora of enemies, with Night at the Gates of Hell boasting eighty-five unique zombie character models: that’s more than the number of zombie character models used in Resident Evil (2002), Resident Evil 2 (2019), and Resident Evil 3 (2020) combined. Read more

Posted on September 16, 2022

Call for Papers — Special Issue #7: Found Footage Horror

Call for Papers

In today’s media landscape, questions of authenticity, truth, and manipulation of fact are more pertinent than ever. While journalists herald the dawning of a ‘post-truth’ era, and deepfakes bring to a boiling point the anxiety of online communication and documentation, the subgenre of found footage horror seems to encapsulate a terror that is both commonplace and elusive. 

From the Unfriended films (2016, 2018) to Host (2020), recent years have heralded an uptick in digital iterations of the medium as an outlet for articulating our fraught relationship with new media technologies. But the concept isn’t new. If we consider Benjamin Christensen’s 1922 film, Häxanwith its integration of truth claims and archived materials—as one of the earliest found footage horror films, then the legacy of the subgenre is approaching just over 100 years. Nor are the impulses of the medium confined to the screen. Foundational horror works like Frankenstein (1818) and Dracula (1897), or found testimonies like Cotton Mather’s records of the Salem Witch trials (1693), all serve as precursors to ongoing experiments with the found footage subgenre. 

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