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New Queer Horror Film and Television

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This anthology comprises essays that study the form, aesthetics and representations of LGBTQ+ identities in an emerging subgenre of film and television that the editors dub “New Queer Horror.” New Queer Horror designates horror that is crafted by directors or producers who identify as gay, bi, queer, or transgendered, or works that feature homoerotic, or explicitly homosex This anthology comprises essays that study the form, aesthetics and representations of LGBTQ+ identities in an emerging subgenre of film and television that the editors dub “New Queer Horror.” New Queer Horror designates horror that is crafted by directors or producers who identify as gay, bi, queer, or transgendered, or works that 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 more unambiguous. Ultimately, this anthology aims to show that in recent years New Queer Horror has turned the focus of fear upon itself, on its own communities and subcultures.


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This anthology comprises essays that study the form, aesthetics and representations of LGBTQ+ identities in an emerging subgenre of film and television that the editors dub “New Queer Horror.” New Queer Horror designates horror that is crafted by directors or producers who identify as gay, bi, queer, or transgendered, or works that feature homoerotic, or explicitly homosex This anthology comprises essays that study the form, aesthetics and representations of LGBTQ+ identities in an emerging subgenre of film and television that the editors dub “New Queer Horror.” New Queer Horror designates horror that is crafted by directors or producers who identify as gay, bi, queer, or transgendered, or works that 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 more unambiguous. Ultimately, this anthology aims to show that in recent years New Queer Horror has turned the focus of fear upon itself, on its own communities and subcultures.

32 review for New Queer Horror Film and Television

  1. 5 out of 5

    Sam Hirst

    2.5 A fuller review will be forthcoming. Happy to answer questions or provide quotations to exemplify points. This is a mixed bag. Let me start with the positive. There are a few very solid essays in here, an interesting array of texts is studied and there are some different perspectives. A few highlights. Elliott-Smith's essay in the first section on 'Let the Right One in' stood out (although it misrepresents asexuality). For me the strongest, and most enjoyable, of the three sections was the fi 2.5 A fuller review will be forthcoming. Happy to answer questions or provide quotations to exemplify points. This is a mixed bag. Let me start with the positive. There are a few very solid essays in here, an interesting array of texts is studied and there are some different perspectives. A few highlights. Elliott-Smith's essay in the first section on 'Let the Right One in' stood out (although it misrepresents asexuality). For me the strongest, and most enjoyable, of the three sections was the final one. There were differing levels of critical engagement and novelty in the fourth section. Andrew Owen's article on AHS Coven, while not entirely convincing, provided a useful overview of relevant queer theory. Tim Stafford provided a theorisation of the 'New Pack' wolf which (while not really engaging with the work both creative and critical on these paradigms outside of film inc. in urban fantasy and paranormal romance) offers a categorisation system which will, I think, provide a useful frame for future discussions. Lisa Metherell's work on closeting and werewolves contains interesting considerations of the radical queer potential of the unspeakable. Robyn Ollett's work on Black Swan and Jack and Diane in the second section is incredibly theoretically dense but offers thought-provoking readings. I disagreed with Christopher Clark's reading of 'Final Destination' but there is no denying that it is a provocative article. How much you enjoy it will probably depend on what you're expecting to get out of it. The canon of films and tv is limited almost entirely to American offerings and some British tv. The approaches differ in theoretical complexity (some are relatively inaccessible to people not steeped in a broad history of queer theory) and I wasn't certain as to the target reader for the collection. If you are a non-academic reader with little or no history of queer theory, some of these essays will be relatively inaccessible. Some will not. If you are, on the other hand, very familiar with current critical debates and with the texts, some essays take you back to a more introductory level. There is, disappointingly, a broad universaliation of 'Western' perspectives and experience, a fairly limited sample of films and shows and an array of queer horror has been left out. While this is an inevitability with a limited anthology, certain key texts - with both critical and popular impact - are absent which leaves a noticeable gap in an attempt to build a coherent picture of modern queer horror film and television if this was the collection's intention. I would also have liked to see both more critical and creative work from diverse perspectives - there was a notable lack of intersectional engagement with the specificities of queer experience or reality for different groups. The book had a good target; the introduction suggested that it was aiming for a broader understanding of 'queer' beyond the cis homosexual lens, looking at texts which featured overtly queer characters (this was not always the case). However, while attempting to produce a book which focuses on a broader definition of 'queer', trans, ace, bi and pan perspectives and theory are almost entirely absent. Asexuality is repeatedly misrepresented and, using a psychoanalytic lens, characterised as 'infantile', 'pre-sexual' or underdeveloped so watch out for that (it is also, at one point, confused with agender) and the collection leans strongly towards an allonormative (and at times monosexual) understanding of the queer. Also be aware that there is, in the discussion of Victor Selva, a conflation (intended or not) of homosexuality and paedophilia through references to an 'emancipatory queerness' introduced into the text both by its narrative tropes and through reading it through Selva's own identity. All in all, I don't want to put people off but I would dip in and out of this to the work that is relevant to you, your interests and your research. It is not a must-read collection.

  2. 4 out of 5

    Alan D.D.

    Con 12 capítulos tan distintos en cuanto a contenido y profundidad, se me hace imposible hablar sobre todos a detalle, pero sí puedo decirles que cada uno hace que el lector vea las películas y series involucradas de una manera distinta. Los primeros cuatro capítulos de New Queer Horror Film and Television fueron un deleite, sin dudas mis favoritos. Los editores Darren Elliott-Smith y John Edgar Browning, junto con John Lynskey y Ben Tyrer, le dieron un inicio muy sólido a este libro que te atra Con 12 capítulos tan distintos en cuanto a contenido y profundidad, se me hace imposible hablar sobre todos a detalle, pero sí puedo decirles que cada uno hace que el lector vea las películas y series involucradas de una manera distinta. Los primeros cuatro capítulos de New Queer Horror Film and Television fueron un deleite, sin dudas mis favoritos. Los editores Darren Elliott-Smith y John Edgar Browning, junto con John Lynskey y Ben Tyrer, le dieron un inicio muy sólido a este libro que te atrapa desde el primer momento y con un estilo fascinante, escribiendo sobre Jeepers Creepers, Rocky Horror Picture Show, Let The Right One In, y Hannibal. Reseña completa (22 de marzo): https://tintanocturna.blogspot.com/20... With 12 chapters so different in content and depth, it is impossible for me to talk about all of them in detail, but I can tell you that each one makes the reader see the movies and series involved in a different way. The first four chapters of New Queer Horror Film and Television were a delight, hands down my favorites. Editors Darren Elliott-Smith and John Edgar Browning, along with John Lynskey and Ben Tyrer, got this book off to a very solid start that grabs you from the get-go and with a riveting style, writing about Jeepers Creepers, Rocky Horror Picture Show, Let The Right One In, and Hannibal. Full review (March 22): https://tintanocturna.blogspot.com/20...

  3. 4 out of 5

    Caden H

    As with most anthologies, its a solid three stars. Currently working on a full length review of this one! Will link here when finished.

  4. 4 out of 5

    Brett Burkhardt

  5. 5 out of 5

    Francesca

  6. 4 out of 5

    Shann

  7. 4 out of 5

    Riana Slyter

  8. 5 out of 5

    Inner

  9. 4 out of 5

    Henriikka

  10. 4 out of 5

    Stephanie McGarrah

  11. 5 out of 5

    Jeff l oconnor

  12. 5 out of 5

    Sabrina Mittermeier

  13. 5 out of 5

    TheAfictionado

  14. 5 out of 5

    Kadiri Saliu

  15. 4 out of 5

    LittlePiscesReading

  16. 4 out of 5

    Emilhy

  17. 4 out of 5

    Ross

  18. 4 out of 5

    Lucas

  19. 4 out of 5

    Sam Volante

  20. 5 out of 5

    Jules

  21. 5 out of 5

    Luna V.

  22. 4 out of 5

    Tyler Jesse

  23. 5 out of 5

    Tommy Cucchiara

  24. 4 out of 5

    James A. Burkhalter

  25. 5 out of 5

    Dustin & Patrick

  26. 4 out of 5

    Megan Van Haren

  27. 4 out of 5

    Rachelle Walker

  28. 5 out of 5

    Ali

  29. 5 out of 5

    char

  30. 4 out of 5

    Roel

  31. 4 out of 5

    Allie

  32. 4 out of 5

    Sara Mazzoni

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