Artwork by Andrew Foley

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CONTEMPORARY BODY HORROR: ON THE RISE OF METAMORPHIC CORPOREALITY

Xavier Aldana Reyes

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REAL WOMEN HAVE BODY HORROR

Kelly Ferguson

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VULNERABILITY OF THE FEMALE CORPSE

Kelly Gredner

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SLAUGHTER, REPRODUCTION, AND SURROGACY IN AUGUSTINA BAZTERRICA’S TENDER IS THE FLESH

Poulomi Choudhury

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A GODDESS REVIVED, A BODY REFINED: TRANSFORMATIVE INHABITATION IN V. CASTRO’S GODDESS OF FILTH

Aylin Pekanik

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EAT YOUR HEART OUT: CANNIBALISM AS BODY HORROR AND THE APPETITE FOR AGENCY

Madeleine Frost

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“THE LITTLE PEOPLE, THEY’RE FUCKING DOLLS!”: THE DOLL/HUMAN HYBRID IN STUART GORDON’S DOLLS

Sandra Mills

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“THE REAL SAVAGE ANIMALS ARE THE HUMAN BEINGS”: GENRE-BENDING AND COMPLICIT EXPLOITATION IN KEVIN SMITH’S TUSK

Darren Gray

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THE FECUND AND FORMLESS MOTHER: GENDERED TECHNOLOGIES OF ECOPHOBIA IN FROMSOFTWARE GAMES

Morgan Pinder

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ON THE HORROR OF BODIES: THERMAL GAZES, PREDATOR DRONES AND INFRARED BLOBS

Harry Gay

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CAR TROUBLES: THE AUTOPHILIA OF TITANE

Stacey Anh Baran

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VISIONS OF MUTATION: SCIENTIFIC DISCOVERY IN THE FLY

Sarah Thompson

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“OPEN WIDE”: ORAL MUTILATION AND THE STENCH OF DECAY IN BRIAN YUZNA’S THE DENTIST (1996) AND THE DENTIST 2 (1988)

Paul A.J. Lewis and Peter True

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PROPER CARE AND FEEDING OF YOUR HUMAN: BODY FARMING FILMS

Carrie Syme

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MONSTROUS BIOENGINEERING AND HORRIFYING “TRANSPLANTS” IN FARMHAND (2018-PRESENT)

Brianna M. Anderson

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EAT YOUR WORDS: THE LANGUAGE OF FLESH AND FAMILY IN AUGUSTINA BAZTERRICA’S TENDER IS THE FLESH

Ellen Boyd

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“WHAT IF I REALLY WAS SOMEONE ELSE?”: BLACK TRANS BODY HORROR IN I SAW THE TV GLOW

Isaiah Frost Rivera

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CONTRIBUTORS

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