Queer Horror Film And Television
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| Author | : Darren Elliott-Smith |
| Publisher | : University of Wales Press |
| Total Pages | : 258 |
| Release | : 2020-10-01 |
| Genre | : Fiction |
| ISBN | : 1786836270 |
This anthology comprises essays that study the form, aesthetics and representations of LGBTQ+ identities in an emerging sub-genre of film and television termed ‘New Queer Horror’. This sub-genre designates horror crafted by directors/producers who identify as gay, bi, queer or transgendered, or works like Jeepers Creepers (2001), Let the Right One In (2008), Hannibal (2013–15), or American Horror Story: Coven (2013–14), which feature homoerotic or explicitly homosexual narratives with ‘out’ LGBTQ+ characters. Unlike other studies, this anthology argues that New Queer Horror projects contemporary anxieties within LGBTQ+ subcultures onto its characters and into its narratives, building upon the previously figurative role of Queer monstrosity in the moving image. New Queer Horror thus highlights the limits of a metaphorical understanding of queerness in the horror film, in an age where its presence has become unambiguous. Ultimately, this anthology aims to show that in recent years New Queer Horror has turned the focus of fear on itself, on its own communities and subcultures.
| Author | : Darren Elliott-Smith |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2022-07-28 |
| Genre | : Performing Arts |
| ISBN | : 135025908X |
In recent years, the representation of alternative sexuality in the horror film and television has "outed" itself from the shadows from which it once lurked, via the embrace of an outrageously queer horror aesthetic where homosexuality is often unequivocally referenced. In this book, Darren Elliott-Smith departs from the analysis of the monster as a symbol of heterosexual anxiety and fear, and moves to focus instead on queer fears and anxieties within gay male subcultures. Furthermore, he examines the works of significant queer horror film, television producers, and directors to reveal gay men's anxieties about: acceptance and assimilation into Western culture, the perpetuation of self-loathing and gay shame, and further anxieties associations shameful femininity. This book focuses mainly on representations of masculinity, and gay male spectatorship in queer horror films and television post-2000. In titling this sub-genre "queer horror," Elliott-Smith designates horror that is crafted by male directors/producers who self-identify as gay, bi, queer, or transgendered and whose work features homoerotic, or explicitly homosexual, narratives with "out" gay characters. In terms of case studies, this book considers a variety of genres and forms from: video art horror; independently distributed exploitation films (A Far Cry from Home, Rowe Kelly, 2012); queer Gothic soap operas (Dante's Cove, 2005-7); satirical horror comedies (such as The Gay Bed and Breakfast of Terror (Thompson, 2008); low-budget slashers (Hellbent, Etheredge-Outzs, 2007); and contemporary representations of gay zombies in film and television from the pornographic LA Zombie (Bruce LaBruce, 2010)) to the melodramatic In the Flesh (BBC Three 2013-15). Moving from the margins to the mainstream, via the application of psychoanalytic theory, critical and cultural interpretation, interviews with key directors and close readings of classic, cult and modern horror, this book will be invaluable to students and researchers of gender and sexuality in horror film and television.
| Author | : James R. Keller |
| Publisher | : McFarland |
| Total Pages | : 228 |
| Release | : 2010-06-28 |
| Genre | : Performing Arts |
| ISBN | : 9780786481026 |
In the past, representations of alternative lifestyles on film were, even in their most explicit forms, faint and ambiguous, and the television industry was even more conservative. But in more recent years, thanks in part to the success of such films as Philadelphia, The Birdcage, To Wong Fu and In & Out, and television programs such as Will & Grace, a collective effort is underway to construct a positive new public image for gays and lesbians. This work studies recent cinematic and television depictions of gays and lesbians. It examines the gay male conversion fantasy in Get Real, Beautiful Thing, I Think I Do, and Billy's Hollywood Screen Kiss, the metaphor of the aging artist as a teacher to young gay men in Love and Death on Long Island and Gods and Monsters, gay violence in Shakespeare and The Talented Mr. Ripley, unacknowledged homophobia and theories of traditional masculinity in Gladiator, the ethical complexities of the human genome project and genetic screening for the gene associated with homosexuality in Twilight of the Golds, profanity and protest masculinity in The Usual Suspects, the controversy arising when the cast of Will & Grace urged Californians to vote against the Knight Initiative refusing recognition to same-sex marriages, male egotism in Flawless, gay parenting and other family issues in The Birdcage, The Object of My Affection, and The Next Best Thing, and rehabilitating homophobia in American Beauty, Urbania, Oz, Kiss Me Guido, Chuck & Buck, and Billy Elliot.
| Author | : Harry M. Benshoff |
| Publisher | : Manchester University Press |
| Total Pages | : 340 |
| Release | : 1997-11-15 |
| Genre | : Performing Arts |
| ISBN | : 9780719044731 |
Monster in the Closet is a history of the horrors film that explores the genre's relationship to the social and cultural history of homosexuality in America. Drawing on a wide variety of films and primary source materials including censorship files, critical reviews, promotional materials, fanzines, men's magazines, and popular news weeklies, the book examines the historical figure of the movie monster in relation to various medical, psychological, religious and social models of homosexuality. While recent work within gay and lesbian studies has explored how the genetic tropes of the horror film intersect with popular culture's understanding of queerness, this is the first book to examine how the concept of the monster queer has evolved from era to era. From the gay and lesbian sensibilities encoded into the form and content of the classical Hollywood horror film, to recent films which play upon AIDS-related fears. Monster in the Closet examines how the horror film started and continues, to demonize (or quite literally "monsterize") queer sexuality, and what the pleasures and "costs" of such representations might be both for individual spectators and culture at large.
| Author | : Darren Elliott-Smith |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 283 |
| Release | : 2016-09-30 |
| Genre | : Performing Arts |
| ISBN | : 1786721376 |
In recent years, the representation of alternative sexuality in the horror film and television has "outed" itself from the shadows from which it once lurked, via the embrace of an outrageously queer horror aesthetic where homosexuality is often unequivocally referenced. In this book, Darren Elliott-Smith departs from the analysis of the monster as a symbol of heterosexual anxiety and fear, and moves to focus instead on queer fears and anxieties within gay male subcultures. Furthermore, he examines the works of significant queer horror film, television producers, and directors to reveal gay men's anxieties about: acceptance and assimilation into Western culture, the perpetuation of self-loathing and gay shame, and further anxieties associations shameful femininity. This book focuses mainly on representations of masculinity, and gay male spectatorship in queer horror films and television post-2000. In titling this sub-genre "queer horror," Elliott-Smith designates horror that is crafted by male directors/producers who self-identify as gay, bi, queer, or transgendered and whose work features homoerotic, or explicitly homosexual, narratives with "out" gay characters. In terms of case studies, this book considers a variety of genres and forms from: video art horror; independently distributed exploitation films (A Far Cry from Home, Rowe Kelly, 2012); queer Gothic soap operas (Dante's Cove, 2005-7); satirical horror comedies (such as The Gay Bed and Breakfast of Terror (Thompson, 2008); low-budget slashers (Hellbent, Etheredge-Outzs, 2007); and contemporary representations of gay zombies in film and television from the pornographic LA Zombie (Bruce LaBruce, 2010)) to the melodramatic In the Flesh (BBC Three 2013-15). Moving from the margins to the mainstream, via the application of psychoanalytic theory, critical and cultural interpretation, interviews with key directors and close readings of classic, cult and modern horror, this book will be invaluable to students and researchers of gender and sexuality in horror film and television.
| Author | : Andrew J. Owens |
| Publisher | : Indiana University Press |
| Total Pages | : 204 |
| Release | : 2021-03-02 |
| Genre | : Performing Arts |
| ISBN | : 0253053846 |
Since the 1960s, the occult in film and television has responded to and reflected society's crises surrounding gender and sexuality. In Desire After Dark, Andrew J. Owens explores media where figures such as vampires and witches make use of their supernatural knowledge in order to queer what otherwise appears to be a normative world. Beginning with the global sexual revolutions of the '60s and moving decade by decade through "Euro-sleaze" cinema and theatrical hardcore pornography, the HIV/AIDS crisis, the popularity of New Age religions and witchcraft, and finally the increasingly explicit sexualization of American cable television, Owens contends that occult media has risen to prominence during the past 60 years as a way of exposing and working through cultural crises about queerness. Through the use of historiography and textual analyses of media from Bewitched to The Hunger, Owens reveals that the various players in occult media have always been well aware that non-normative sexuality constitutes the heart of horror's enduring appeal. By investigating vampirism, witchcraft, and other manifestations of the supernatural in media, Desire After Dark confirms how the queer has been integral to the evolution of the horror genre and its persistent popularity as both a subcultural and mainstream media form.
| Author | : Darren Elliott-Smith |
| Publisher | : University of Wales Press |
| Total Pages | : 252 |
| Release | : 2020-10-01 |
| Genre | : Fiction |
| ISBN | : 1786836289 |
This book offers a wide scope in terms of how LGBTQ+ spectators engage and ‘use’ horror texts to identify. It includes close textual analysis in terms of the eclectic mix of Film and TV titles. It offers contemporary readings of significant titles from the past two decades or so.
| Author | : Tison Pugh |
| Publisher | : University of Georgia Press |
| Total Pages | : 314 |
| Release | : 2020 |
| Genre | : Literary Criticism |
| ISBN | : 0820356727 |
"Within the realm of U.S. culture and its construction of its citizenry, geography, and ideology, who are Southerners and who are queers, and what is the South and what is queerness? Queering the South on Screen addresses these questions by examining "the intersections of queerness, regionalism, and identity" depicted in film, television, and other visual media about the South during the twentieth century. From portrayals of slavery to gothic horror films, the contributors show that queer southerners have always expressed desires for distinctiveness in the making and consumption of visual media. Read together, the introduction and twelve chapters deconstruct premeditated labels of identity such as queer and southern. In doing so, they expose the reflexive nature of these labels to construct fantasies based on southerner's self-identification based on what they were not"--
| Author | : Harry M. Benshoff |
| Publisher | : Psychology Press |
| Total Pages | : 260 |
| Release | : 2004 |
| Genre | : Homosexuality and motion pictures |
| ISBN | : 9780415319874 |
Queer Cinema, the Film Reader brings together key writings that use queer theory to explore cinematic sexualities, especially those historically designated as gay, lesbian, bisexual and/or transgendered.
| Author | : David Deal |
| Publisher | : McFarland |
| Total Pages | : 231 |
| Release | : 2015-01-27 |
| Genre | : Performing Arts |
| ISBN | : 0786455144 |
If the made-for-television movie has long been regarded as a poor stepchild of the film industry, then telefilm horror has been the most uncelebrated offspring of all. Considered unworthy of critical attention, scary movies made for television have received little notice over the years. Yet millions of fans grew up watching them--especially during the 1970s--and remember them fondly. This exhaustive survey addresses the lack of critical attention by evaluating such films on their own merits. Covering nearly 150 made-for-TV fright movies from the 1970s, the book includes credits, a plot synopsis, and critical commentary for each. From the well-remembered Don't Be Afraid of the Dark to the better-forgotten Look What's Happened to Rosemary's Baby, it's a trustworthy and entertaining guide to the golden age of the televised horror movie.
