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Characterized as it is by its interest in and engagement with the
supernatural, psycho-social formations, the gothic, and issues of
identity and subjectivity, horror has long functioned as an
allegorical device for interrogations into the seamier side of
cultural foundations. This collection, therefore, explores both the
cultural landscape of this recent phenomenon and the reasons for
these television series' wide appeal, focusing on televisual
aesthetics, technological novelties, the role of adaptation and
seriality, questions of gender, identity and subjectivity, and the
ways in which the shows' themes comment on the culture that
consumes them. Featuring new work by many of the field's leading
scholars, this collection offers innovative readings and rigorous
theoretical analyses of some of our most significant contemporary
texts in the genre of Horror Television.
Characterized as it is by its interest in and engagement with the
supernatural, psycho-social formations, the gothic, and issues of
identity and subjectivity, horror has long functioned as an
allegorical device for interrogations into the seamier side of
cultural foundations. This collection, therefore, explores both the
cultural landscape of this recent phenomenon and the reasons for
these television series' wide appeal, focusing on televisual
aesthetics, technological novelties, the role of adaptation and
seriality, questions of gender, identity and subjectivity, and the
ways in which the shows' themes comment on the culture that
consumes them. Featuring new work by many of the field's leading
scholars, this collection offers innovative readings and rigorous
theoretical analyses of some of our most significant contemporary
texts in the genre of Horror Television.
Gender and the Nuclear Family in Twenty-First-Century Horror is the
first book-length project to focus specifically on the ways that
patriarchal decline and post-feminist ideology are portrayed in
popular American horror films of the twenty-first century. Through
analyses of such films as Orphan, Insidious, and Carrie, Kimberly
Jackson reveals how the destruction of male figures and depictions
of female monstrosity in twenty-first-century horror cinema suggest
that contemporary American culture finds itself at a cultural
standstill between a post-patriarchal society and post-feminist
ideology.
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