Prelims

Half Title Page

GENDER AND CONTEMPORARY HORROR IN TELEVISION

Series Page

Emerald Studies in Popular Culture and Gender

Series Editor: Samantha Holland, Leeds Beckett University, UK

As we re-imagine and re-boot at an ever faster pace, this series explores the different strands of contemporary culture and gender. Looking across cinema, television, graphic novels, fashion studies and reality TV, the series asks: what has changed for gender? And, perhaps more seriously, what has not? Have representations of genders changed? How much does the concept of ‘gender’ in popular culture define and limit us?

We not only consume cultural texts, but share them more than ever before; meanings and messages reach more people and perpetuate more understandings (and misunderstandings) than at any time in history. This new series interrogates whether feminism has challenged or change misogynist attitudes in popular culture.

Emerald Studies in Popular Culture and Gender provides a focus for writers and researchers interested in sociological and cultural research that expands our understanding of the ontological status of gender, popular culture and related discourses, objects and practices.

Titles in this series

Samantha Holland, Robert Shail and Steven Gerrard (eds.), Gender and Contemporary Horror in Film

Steven Gerrard, Samantha Holland and Robert Shail (eds.), Gender and Contemporary Horror in Television

Robert Shail, Steven Gerrard and Samantha Holland (eds.), Gender and Contemporary Horror in Comics, Games and Transmedia

Samantha Holland, Screen Heroines, Superheroines, Feminism and Popular Culture

Title Page

GENDER AND CONTEMPORARY HORROR IN TELEVISION

EDITED BY

STEVEN GERRARD

Leeds Beckett University, UK

SAMANTHA HOLLAND

Leeds Beckett University, UK

ROBERT SHAIL

Leeds Beckett University, UK

United Kingdom – North America – Japan – India – Malaysia – China

Copyright Page

Emerald Publishing Limited

Howard House, Wagon Lane, Bingley BD16 1WA, UK

First edition 2019

Editorial matter and selection © the volume editors; individual chapters © their respective authors, 2019.

Reprints and permissions service

Contact: permissions@emeraldinsight.com

No part of this book may be reproduced, stored in a retrieval system, transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without either the prior written permission of the publisher or a licence permitting restricted copying issued in the UK by The Copyright Licensing Agency and in the USA by The Copyright Clearance Center. Any opinions expressed in the chapters are those of the authors. Whilst Emerald makes every effort to ensure the quality and accuracy of its content, Emerald makes no representation implied or otherwise, as to the chapters’ suitability and application and disclaims any warranties, express or implied, to their use.

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

ISBN: 978-1-78769-104-9 (Print)

ISBN: 978-1-78769-103-2 (Online)

ISBN: 978-1-78769-105-6 (EPub)

Dedication

This book is dedicated to the following people: my mum, Ann, and her brother, Perry, for letting/making me watch horror films, especially Salem’s Lot on its first release when I was 9; my dad, Viv, for getting me to support Burnley FC and the mighty Wales; and finally, my mates Griff, Klause and Dr M without whom I would not have had so much fun, adventures, and Brew XI beer.

List of Contributors

Chloe Benson is a Lecturer in Film and Media Studies at Federation University Australia. Her recently completed doctoral thesis unites her interest in film, media and sexuality studies by examining the complex interplay between promotional para-texts and representations of bisexuality in contemporary cinema.

Kylie Boon is a Tutor at the University of Wales Trinity Saint David and teaches across a range of creative disciplines. She is currently researching the application of philosophical concepts in contemporary TV series. She is also a fellow of the Higher Education.

Fernando Canet is an Associate Professor in Film Studies at Fine Arts College, Polytechnic University of Valencia, Spain. He has two monographs, two co-authored collections and three co-edited books. Fernando has edited Hispanic Research Journal and L´Atalante. International Film Studies Journal whilst publishing in Communication & Society, Studies in European Cinema and Studies in Documentary Films.

Despina Chronaki (Dr) is an Adjunct Lecturer at the National and Kapodistrian University of Athens and Hellenic Open University. Her research focuses on audiences of popular culture, porn studies, and children’s experiences with media. She has participated in EU-funded European, National (Greek) and International projects since 2007 (https://en-uoa-gr.academia.edu/DespinaChronaki for a detailed record).

Nadine Dannenberg is undertaking her PhD at Institute for Media Studies, University of Arts, Braunschweig, Germany. Her interests include Surveillance Studies, Feminist (Techno) Science Studies, Queer Film (and theory) & Media Studies and Post-human Philosophy. Her publications include ‘Vlogging Asexuality’ for onlinejournal culture & geschlecht No. 17 (July 2016) and ‘Die Cyborg – Eine feministische Utopie’ for Wir Frauen No. 34, 4 (2015).

Jessica George focused her PhD research on evolutionary theory in the fiction of Arthur Machen and H.P. Lovecraft. She has published for Supernatural. Her current research focuses on Gothic constructions of authorship and audience and has interests in literature and science in the nineteenth century and contemporary Welsh writing in English. She is based at Cardiff University.

Steven Gerrard is Reader in Film at Northern Film School, Leeds Beckett University, UK. He has written monographs celebrating the Carry On films and modern British horror movies. Steve is co-editor of Crank it up – Jason Statham: Star! and has published extensively on horror for We Belong Dead and Dark Side Magazine.

Víctor Hernández-Santaolalla is Assistant Professor at the Universidad de Sevilla. His research interests include mass communication, political communication, propaganda, surveillance and social media. He has published for European Journal of Communication and Information, Communication and Society. Victor has edited books about Breaking Bad and representations of television serial killers.

Samantha Holland is Senior Research Fellow at Leeds Beckett University, UK. Her research interests include gender, leisure, subcultures and popular culture. Her publications include Alternative Femininities: Body, Age & Identity; Pole Dancing: Empowerment & Embodiment; and Modern Vintage Homes & Leisure Lives: Ghosts & Glamour.

Khara Lukancic is a Doctoral Student in Mass Communication and Media Arts at Southern Illinois University Carbondale. She has published film reviews in Film Criticism and Gateway Journalism Review and has authored a book chapter on the intertextuality of Halloween and Moby-Dick. Her academic interests include horror studies and film criticism.

Erika Tiburcio Moreno’s PhD focuses on the Serial Killer in American horror movies (1960s–1980s). Her publications include ‘The Day When the Rural and the Urban World Had to Struggle: Mother’s Day’ for No Escape: Excavating Multidimensional Phenomenon of Fear and ‘America Through a Camera: Horror Cinema as a Historical Discourse’ in The Last House on the Left, for Cuadernos de Historia Contemporánea, 38, 2016. Erika is based at University Carlos III, Madrid.

Natasha Parcei is a PhD Student at the Northern Film School (Leeds Beckett University). Her research focuses on Cultural Gerontology within the field of British Cinema. Natasha has delivered conference papers at Gerontology and Gothic conferences. She has contributed a chapter about Jason Statham as an ageing action hero for Crank it up – Jason Statham: Star!

Susan Cosby Ronnenberg is an English Professor at Viterbo University in La Crosse, Wisconsin. She is the author of Deadwood and Shakespeare: The Henriad in the Old West (2018).

Clare Smith is the Heritage Centre Manager for the Metropolitan Police Heritage Centre, London. Clare wrote her PhD on the Depiction of Jack the Ripper and the Whitechapel Murders on Film. Her book, Jack the Ripper in Film and Culture: Top Hat, Gladstone Bag and Fog was published in 2016.

Lauren Stephenson is a Lecturer in Film Studies at York St. John University. Her recently completed PhD research focuses on representations of class and masculinity in the British ‘hoodie horror’ film cycle. Lauren has presented work in the U.K., Europe and Canada, covering various aspects of her research into the horror genre.

Dahlia Schweitzer is a pop culture critic and writer based in Los Angeles, California. She is the author of Going Viral: Zombies, Viruses and the End of the World and Cindy Sherman’s Office Killer: Another Kind of Monster. Dahlia has contributed essays to Journal of Popular Film and Television and The Journal of Popular Culture.

Marta F. Suarez is based at Liverpool John Moores University. She lectures on modules on film theory, race, genre and screenwriting. She has written on adaptation, race and immigration. She has a forthcoming chapter for Women who Kill (female characters in The Walking Dead). Her research interests include: immigration, gender, (post)feminism, (post)colonialism, race, TV science-fiction, fantasy and dystopian/post-apocalyptic worlds. She is part of the editorial board for Open Screens and a member of the EC at BAFTSS (British Association of Film, Television and Screen Studies).

Liza Tsaliki is Associate Professor at the Department of Communication and Media Studies at the National and Kapodistrian Univeristy of Athens. Her research record spans across the following fields: political engagement and participation (including young peoples’); celebrity culture and activism; gender and technology; porn studies; children/youth and media; children/youth and sexualization; popular culture; post-feminism, body aesthetics and motherhood; fitness culture.

Acknowledgements

This book would not have been possible without the help of all those lovely people at Emerald Publishing, especially Charlotte Wilson for making everything run so smoothly. Thanks must also go to the staff of Northern Film School, Leeds Beckett University, for opportunities that don’t come along often. Special thanks must be made to Professor Robert Shail and Dr Samantha Holland for their support throughout this project.