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Videodrome (1983)
Directed by David Cronenberg
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Shitfit #1 - Lack of female voices in ARGs/unfiction/online horror series
I watched this documentary yesterday, which I highly recommend if you’re interested in these topics. Anyways, one thing I noticed that really irked me is the lack of female creators in the horror space online. I was talking to someone on Reddit after I posted there asking about female creator recommendations, and while yes, I agreed with them that gender doesn’t matter when a created product is good, that doesn’t change the fact that I feel underrepresented. This isn’t just a YouTube problem, it’s a problem in the entire horror genre. In my research on horror, I found this article on women in cinematic horror. While I do think a lot of the problems with the lack of diverse voices in online horror overlap with cinematic horror, I still have a feeling that it still doesn’t line up. The Internet is much more accessible. In the documentary mentioned above, it is said that the over-saturation of analog horror is because of how easy it is to make. Anyone with an iPhone can make something. I ask then, where are my ladies at? Surely not every woman interested in horror is as lame as me and simply lacks motivation and self-discipline. I only need one hand to count online horror creators I know of that are women. I thought that was my fault, I used to be really bad for only consuming content made by men for internal misogynistic reasons, but I’ve outgrown that. I am actively looking for female creators! When I asked Reddit, I got null. Not even other members of the community can think of any. Now I do know that this is partially caused by the anonymity usually involved in ARG/unfiction/online horror. The creators usually pretend they’re a character who’s “found a tape” or whatever. But come on. I’m going crazy here and don’t know what to do about it.
Now I know what you’re thinking. “Well, you said that you don’t care who makes someone as long as the product is good!” This is true. I don’t really know how to explain the yearning I feel. The creator and their identity do influence the content. Women’s roles in online horror are usually reduced to acting, which is fine! Acting is super cool and I have seen some really good voice acting in horror series, but that’s the same problem cinematic horror has. We get a lot of horror movies about women but directed by men. LAME! Yawn. There are things about women that I feel could make bomb-ass horror content. For example, a lot of analog horror is about the horror of your reality being undermined, which like 99% of the time is represented by the government lying to you or an evil force using the TV to subliminally influence you. Bestie that actually happens! Go watch a cleaning product commercial compilation and the lead role in that commercial is going to be a woman, because cleaning is all we do, apparently. Shit like that is everywhere. Look at ads for make-up in any time period. Woman’s issues and the shit forced upon them are so underutilized in the online horror community. The fact that it’s a “funny joke” online right now to comment on the colour of a woman’s clit? That you can find comments like that on posts of newborns or little girls? That we’re powerless to stop it and it will continue no matter what we want? That’s pretty scary! If you think I have gotten away from my original point, you’re wrong. What I am saying is that there are many underutilized real horrors to be inspired from, and it would be nice to see issues I and other women face in online horror, and more female creators in general. This post is only touching the surface of under-representation in online horror, there sadly is not a lot of diversity.
If you have any recommendations, give me them. If you are hesitant about creating online horror, don’t be. I will eat that shit up! Thanks.
Affective Intensities and Evolving Horror Forms: From Found Footage to Virtual Reality, by Adam Daniel, Edinburgh University Press, 2020. info: edinburghuniversitypress.com.
Horror cinema is a genre that is undergoing constant evolution, from the sub-genre of ‘found footage,’ to post-cinematic new media forms such as Youtube horror, horror video games and cinematic virtual reality horror. By investigating how these new forms alter the dynamics of spectatorship, this book charts how cinema’s affective capacities have shifted in relation to these modifications in the forms of cinematic horror. It applies a rich theoretical synthesis of phenomenological and Deleuzian approaches to a number of case studies, including films like The Blair Witch Project, Paranormal Activity and Creep as well as video games such as Alien: Isolation and new media forms such as Youtube horror and virtual reality horror.
Contents: Introduction Chapter 1: From the Semantic to the Somatic: Affective Engagement with Horror Cinema Chapter 2: From Identification to Embodied Spectatorship in the Found Footage Horror Film Chapter 3: Camera Supernaturalis Chapter 4: Perception and Point of View in the Found Footage Horror Film: New Understandings via Deleuze’s Perception-Image Chapter 5: Horrific Entwinement: Affective Neuroscience and the Body of the Horror Spectator Chapter 6: What Hides Behind the Stream: Post-cinematic Hauntings of the Digital Chapter 7: The Evolving Screen Forms of New Media Horror Chapter 8: The Embodied Player of Horror Video Games Chapter 9: The Spectator-Interactor of Virtual Reality Horror Conclusion Bibliography List of Figures and Illustrations
‘The Exorcist’ behind the scenes.
The 50 Best Horror Movies Of The 21st Century So Far
Dark Forces at Work: Essays on Social Dynamics and Cinematic Horrors (Lexington Books Horror Studies), edited by Cynthia J. Miller and A. Bowdoin Van Riper, Lexington Books/Rowman & Littlefield, 2019. Info: rowman.com.
Dark Forces at Work examines the role of race, class, gender, religion, and the economy as they are portrayed in, and help construct, horror narratives across a range of films and eras. These larger social forces not only create the context for our cinematic horrors, but serve as connective tissue between fantasy and lived reality, as well. While several of the essays focus on “name” horror films such as IT, Get Out, Hellraiser, and Don’t Breathe, the collection also features essays focused on horror films produced in Asia, Europe, and Latin America, and on American classic thrillers such as Alfred Hitchcock’s Psycho. Key social issues addressed include the war on terror, poverty, the housing crisis, and the Time’s Up movement. The volume grounds its analysis in the films, rather than theory, in order to explore the ways in which institutions, identities, and ideologies work within the horror genre.
Contents: Acknowledgments Introduction – Cynthia J. Miller and A. Bowdoin Van Riper Part I. National Identity: Haunting the Homeland 1. Ringing Home, Missed Calls, and Unbroken Land-lines: Domestication of, and Miscommunication in, K- and J- Horror – Rea Amit 2. Redefining the Heimat: Austrian Horror Cinema and the “Home” in a Global Age – Michael Fuchs 3. Korean National Trauma and the Myth of Hypermasculinity in The Wailing (2016) – Luisa Hyojin Koo 4. The Witch, the Wolf, and the Monster: Monstrous Bodies and Empire in Penny Dreadful – Allyson Marino Part II. Market Forces and Their Monsters 5. Recession Horror: The Haunted Housing Crisis in Contemporary Fiction – Lindsey Michael Banco 6. Classism and Horror in the Seventies: The Rural Dweller as a Monster – Erika Tiburcio Moreno 7. All Against All: Dystopia, Dark Forces, and Hobbesian Anarchy in the Purge Films – A. Bowdoin Van Riper 8. Motor City Gothic: White Youth and Economic Anxiety in It Follows and Don’t Breathe – Russell Meeuf and Benjamin James Part III. Ideology: You Just Have to Believe 9. Gothic Neoliberalism in 1980s British Horror Cinema – Fernando Gabriel Pagnoni Berns, Juan Juvé, and Emiliano Aguilar 10. Infringing on Cycles of Oppression: Artisanal Bricolage and Synthesis in Mumblegore – Brandon Niezgoda 11. Faith as Confinement: Alejandro Amenábar’s The Others (2004) – Maria Gil Poisa Part IV. History Never Dies 12. The Pursuit of Certainty: Legends and Local Knowledge in Candyman – Cynthia J. Miller 13. “Nothing Is What It Seems”: Montage and Misread Histories in Nicolas Roeg’s Don’t Look Now (1973) – Thomas Prasch 14 “Tens of Thousands of Men Died Here”: Desire, Revenge, and Memories of War in Edgar G. Ulmer’s The Black Cat – James J. Ward 15. Peril, Imprisonment, and the Power of Place in Jordan Peele’s Get Out – Michael C. Reiff Part V. The Horrors of Place 16. The Hovel Condemned: The Environmental Psychology of Place in Horror – Jacqueline Morrill 17. Coming Home to Horror: Stephen King’s Derry and Castle Rock – Alissa Burger 18. It Follows and the Uncertainties of the Middle Class – Katherine Lizza 19. “We’re all in our private traps”: Reconfiguring Suburbia’s Protective Borders in Psycho (1960) – Kevin Thomas McKenna Index About the Editors About the Contributors
What an excellent day for an exorcism.
Watch: Incredible Vintage Footage Of Audience Reactions To ‘The Exorcist’ In 1973
