Gender and Contemporary Horror in Comics, Games and Transmedia
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- Description
- Contents
- About
Contemporary popular media has been marked by its startling ability to morph into a wide variety of formats, fed by the ongoing revolution in digital technology. Despite these significant changes, the horror genre has retained its attraction for audiences, and the representation of gender has been crucial to that appeal.
Gender and Contemporary Horror in Comic, Games and Transmedia examines the impact of media convergence on the horror genre, focusing on comic books and graphic novels, video games, audio broadcasts, and transmedia adaptations, as well as considering the increasingly proactive role of audiences in making media themselves. A wide range of scholars consider the effect of this new hybridity on established debates regarding the role of gender in the horror genre, offering vital new interpretations of identity and representation.;
This book is an illuminating, exciting read for academics and students interested in the effect of changing media, and an evolving cultural landscape, on the established debates surrounding gender in the horror genre. The responses of the authors reflect both the possible limitations and the groundbreaking possibilities of this new era in horror.
Introduction
- Section One: Comics and Graphic Novels
- 1. Blood and Fire: Monstrous Women in Carrie and the 'Dark Phoenix Saga'; Matt Linton
- 2. Anxiety and Mutation in Charles Burns' Black Hole and Junji Ito’s Uzumaki; Robert Shail
- Section Two: Video Games
- 3. 'Endure and Survive': Evolving Female Protagonists in Tomb Rider and The Last of Us; Rebecca Jones
- 4. Horrific Things: Alien Isolation and the Queer Materiality of Gender, Desire and Being; Merlin Seller
- 5. Shattered Identities: The Weakness of the Male Hero in the Silent Hill Game Franchise; Tiago José Lemos Monteiro; 6. Dad Rising? Playing the Father in Post-Apocalyptic Survival Horror Games; Michael Fuchs and Klaus Rieser
- Section Three: Transmedia and Adaptation
- 7. 'It was an indescribable terror. So terrifying, I cannot begin to describe it. But it had tentacles': H.P. Lovecraft and His Impact on (Cult) Media; Steven Gerrard
- 8. 'They have given life to a creation… a jigsaw of all our worst fears': Exploring Thematic Dichotomies in the Filmic Representation of Mary Shelley; L.M.K. Sheppard and Richard Sheppard
- 9. Illusion, Reality, and Fearsome Femininity in Takashi Miike's Audition; Kathryn Hemmann
- 10. Masculinity, Human Hierarchy, and American Exceptionalism in World War Z; Kelly Doyle
- Section Four: Audiences, Fandom and Reception
- 11. Fans of the Alien Film Franchise: Creating a Fan-Specific Checklist; Janelle Vermaak
- 12. 'It all comes down to your voice': Female Participation and Gender Identities at the San Sebastian Horror and Film Festival; Rosanna Vivar
- 13. Will Slash Hannibal: Negotiating the Borders of Female Fandom in Hannibal; Charlotte Baker
- Section Five: Audio and Podcasts
- 14. 'Mostly Void; Partially Stars': Queer Masculinities in the Welcome to Night Vale Podcast; Alison Bainbridge
- 15. Sightless Realms of Terror: Disembodied Voices and Sonic Immersion in Contemporary Horror Audio; Richard J. Hand
- Conclusion
Robert Shail is Professor of Film and Director of Research in the School of Film, Music and Performing Arts at Leeds Beckett University, UK. He is widely published on postwar British cinema, masculinity, and stardom.
Samantha Holland is Senior Research Fellow at Leeds Beckett University, UK. Her research interests are broadly gender, leisure, subcultures and popular culture, utilising feminist, ethnographic qualitative methods, and including fashion history, vintage and second-hand, home and daily routines, and embodiment and body practices..
Steven Gerrard is Reader in Film at the School of Film, Music and Performing Arts, Leeds Beckett University, UK. A firm fan of all things low culture, Steven has written two monographs entitled The Carry On Films and The Modern British Horror Film.