Race, Gender and Terror: The Primitive in 1950s Horror Films

Dec. 1, 2004

(part of a series in Special Issue #40: Scared of the Dark: Race, Gender and the “Horror Film” – Guest Editor: Frances Gateward ) [2] Neil’s transformation is not just from white to black but from modern to primitive. At first, Neil believes that he has Chippewa blood in his...

NeoSlaves: Slavery, Freedom, and African American Apotheosis in Candyman, The Matrix, and The Green Mile

Nov. 1, 2004

(part of a series in Special Issue #40: Scared of the Dark: Race, Gender and the “Horror Film” – Guest Editor: Frances Gateward ) What became transparent were the self-evident ways that Americans choose to talk about themselves through and within a sometimes allegorical, sometimes metaphorical, but always choked representation...

Passing For Horror: Race, Fear, and Elia Kazan’s Pinky

Oct. 1, 2004

(part of a series in Special Issue #40: Scared of the Dark: Race, Gender and the “Horror Film” – Guest Editor: Frances Gateward ) [1] Film genres routinely mix and evolve over time in ways that change our expectations of them, and change the way that we as audiences read...

The Horrors of Remembrance: The Altered Visual Aesthetic of Horror in Jonathan Demme’s Beloved.

Sept. 1, 2004

(part of a series in Special Issue #40: Scared of the Dark: Race, Gender and the “Horror Film” – Guest Editor: Frances Gateward ) [1] Jonathan Demme’s Beloved (1998) , a film which tries to cope with the trauma of slavery, is a horror film in that it uses, and...

Technologies of Race: Special Effects, Fetish, Film, and the Fifteenth Century

Aug. 1, 2004

(part of a series in Special Issue #40: Scared of the Dark: Race, Gender and the “Horror Film” – Guest Editor: Frances Gateward ) [1] In periodizing film studies as a modern/modernist phenomenon simply because film technology emerges at the end of the nineteenth century, film scholars sometimes miss the...

Daywalkin’ Night Stalkin’ Bloodsuckas: Black Vampires in Contemporary Film

July 2, 2004

(part of a series in Special Issue #40: Scared of the Dark: Race, Gender and the “Horror Film” – Guest Editor: Frances Gateward ) [2] For adults there are the novels of vampire lore in the style of classic horror, such as Richard Laymon’sThe Traveling Vampire Show; the eroticized tales...

A Labour of Patriotism: Female Soviet Gymnasts’ Physical and Ideological Work, 1952-1991

June 1, 2004

[1] “Smile! Otherwise, the spectator will see how hard you’re working, and the illusion will be lost” – (coach Renald Knysh to Olga Korbut). [2] Soviet women gymnasts enjoyed world dominance in their sport from 1952 until the collapse of the Soviet Union almost 40 years later. But the celebration...

“Quality Postfeminism?” Sex and the Single Girl on HBO

April 1, 2004

Figure 1-The Cast of Sex and the City [1] A very vibrant area of work in television studies at the moment dedicates itself to freshening up debates over “quality television” in an era of “must-see” programming (see Jancovich & Lyons, as well as Carr, Metz & Tankel, forthcoming). This article...

Subversion of the In/Out Model in Understanding Hemingway Texts

March 1, 2004

[1] In Clothes for a Summer Hotel, Tennessee Williams’ 1980 ghost play about Scott and Zelda Fitzgerald, Ernest Hemingway appears as a character who is anxious about his own gender and sexuality. While he lives up to his popular macho image, he also acknowledges another side of his character when...

Dialogues between Paul Virilio and Chela Sandoval: Towards a better understanding of uses and abuses of new technologies.

Feb. 1, 2004

“I sing sometimes for the war that I fight, ‘cause every tool is a weapon – if you hold it right.” -Ani DiFranco, “My IQ” “[We should] recognize that ‘fragmentation’ is neither an experience nor a theoretical construct peculiar to the postmodern moment. Indeed, the fragmentation of subjection is the...

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