The ugly, racist truth of horror films is that most Black characters die. But not all. Some defy a bigoted genre and refuse to die.
[ZINE] MONSTROUS FEMALE FEAR : THE POWER OF SADY BOYLE’S ‘DEAD BLONDES’ AND DAVID CRONENBERG’S ‘RABID’
While the roots of many of the fearful creatures Sady Doyle describes in her book are ancient, the stories of murder by exorcism, etc. are often very recent. It was with this last point in mind that I revisited one of my favorite films, David Cronenberg’s 1977 film Rabid.
The Invitation is nearly perfect to me, but it has always left me craving more in terms of its treatment of the five fascinating women it gives us.
What’s grotesque on the inside usually comes out (or off) in a Twisted Twins flick such as Rabid.. That’s because superficial standards of feminine beauty, threats of sexual violence, and other exterior demands of a patriarchal system distort women’s interior lives. Men make women ugly on the inside. And ugliness will come out, often angrily. The slit, pierced, amputated, and mangled are thus the realest things about these movies. They provide tangible, gory evidence of women’s rage.
Michael Walls-Kelly highlights a couple from each entry that shows how Scream treats women as more than just screeching victims.
When thinking about women in horror, the focus is on final girls or female victims. What about the iconic female monsters and what they say about the genre?
Ginger Snaps turns twenty this year. Let’s celebrate the cult favorite that broke all the male-centered rules of 80s and 90s werewolf movies.
Cheng Lai Sheung (played by Josie Ho) evolves from dutiful daughter to mass murderer in Ho-Cheung Pang’s film Dream Home (2010).
Thank you, gentlemen, for coming. I know this can be a difficult situation because …
She watched as the boat took her further and further away from the shore, finalizing