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,

(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

(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

(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

(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

(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

[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

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”

[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

“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