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Books > Arts & Architecture > Performing arts > Films, cinema > Film theory & criticism
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Queer Horror Film and Television - Sexuality and Masculinity at the Margins (Paperback)
Loot Price: R1,278
Discovery Miles 12 780
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Queer Horror Film and Television - Sexuality and Masculinity at the Margins (Paperback)
Series: Library of Gender and Popular Culture
Expected to ship within 10 - 15 working days
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In recent years, the representation of alternative sexuality in the
horror film and television has "outed" itself from the shadows from
which it once lurked, via the embrace of an outrageously queer
horror aesthetic where homosexuality is often unequivocally
referenced. In this book, Darren Elliott-Smith departs from the
analysis of the monster as a symbol of heterosexual anxiety and
fear, and moves to focus instead on queer fears and anxieties
within gay male subcultures. Furthermore, he examines the works of
significant queer horror film, television producers, and directors
to reveal gay men's anxieties about: acceptance and assimilation
into Western culture, the perpetuation of self-loathing and gay
shame, and further anxieties associations shameful femininity. This
book focuses mainly on representations of masculinity, and gay male
spectatorship in queer horror films and television post-2000. In
titling this sub-genre "queer horror," Elliott-Smith designates
horror that is crafted by male directors/producers who
self-identify as gay, bi, queer, or transgendered and whose work
features homoerotic, or explicitly homosexual, narratives with
"out" gay characters. In terms of case studies, this book considers
a variety of genres and forms from: video art horror; independently
distributed exploitation films (A Far Cry from Home, Rowe Kelly,
2012); queer Gothic soap operas (Dante's Cove, 2005-7); satirical
horror comedies (such as The Gay Bed and Breakfast of Terror
(Thompson, 2008); low-budget slashers (Hellbent, Etheredge-Outzs,
2007); and contemporary representations of gay zombies in film and
television from the pornographic LA Zombie (Bruce LaBruce, 2010))
to the melodramatic In the Flesh (BBC Three 2013-15). Moving from
the margins to the mainstream, via the application of
psychoanalytic theory, critical and cultural interpretation,
interviews with key directors and close readings of classic, cult
and modern horror, this book will be invaluable to students and
researchers of gender and sexuality in horror film and television.
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