This critically analytical filmography examines 45 movies featuring "grande dames" in horror settings. Following a history of women in horror before 1962's What Ever Happened to Baby Jane?, which launched the "Grande Dame Guignol" subgenre of older women featured as morally ambiguous leading ladies, are all such films (mostly U.S.) that came after that landmark release. The filmographic data includes cast, crew, reviews, synopses, and production notes, as well as recurring motifs and each role's effect on the star's career.

This collection offers close readings on Hammer’s cycle of horror films, analysing key films and placing particular emphasis on the narratives and themes present in the works discussed. Ranging from the studio’s first horror outing, The Mystery of the Mary Celeste (1935) to Hammer’s last contemporary film, Doctor Jekyll (2023), the collection celebrates cult-favourites such as The Quatermass Experiment, the films of Terence Fisher, to overlooked classics such as Captain Clegg or The Mummy franchise. This volume also delves into Hammer’s psychological thrillers, the studio’s venture into TV with Hammer’s House of Horrors, with theoretical frameworks varying from queer studies to postcolonial readings. This volume will appeal to scholars and students of film studies, international cinema, film history and horror studies.

This book is a comprehensive study of some ways of treating the subject that demonstrate new and unusual perspectives, and provides a different approach to the popularly-held views of mothers-in-law; and that further address these works as popular culture; and as texts in their own right from within the framework of literary theory; and as works that demonstrate the ability to reach and connect with, and satisfy, both the general reader, the student, and the scholar, from all levels and walks of life.

Redefining Kitsch and Camp in Literature and Culture is a collection of fourteen essays dealing with the performative character of kitsch and camp aesthetics in popular culture and avant-garde productions. Anticipated in both literature and culture, the book traces the evolution of two aesthetics from a number of theoretical perspectives, including gender studies, queer studies, popular culture studies, aesthetics, film studies and postcolonial studies. The volume provides a much-needed commentary on the mechanisms and functions of kitsch and camp in contemporary literary and cultural studies, reflecting on various transformations that are currently underway.

From The Lady Eve, to The Big Valley, Barbara Stanwyck played parts that showcased her multidimensional talents but also illustrated the limits imposed on women in film and television. Catherine Russell’s A to Z consideration of the iconic actress analyzes twenty-six facets of Stanwyck and the America of her times. Russell examines Stanwyck’s work onscreen against the backdrop of costuming and other aspects of filmmaking. But she also views the actress’s off-screen performance within the Hollywood networks that made her an industry favorite and longtime cornerstone of the entertainment community. Russell’s montage approach coalesces into an engrossing portrait of a singular artist whose intelligence and savvy placed her center-stage in the production of her films and in the debates around women, femininity, and motherhood that roiled mid-century America. Original and rich, The Cinema of Barbara Stanwyck is an essential and entertaining reexamination of an enduring Hollywood star.

Challenging the common assumption that the early 1960s were a drab time for American film, this book makes the bold case that 1962 was a peak year for the movies, giving audiences a prime mix of adult, artistic, and uncompromising work from Hollywood veterans, hot young directors, and international auteurs.

This edited collection is the first book-length critical study of the Showtime-Sky Atlantic television series Penny Dreadful (2014-2016), which also includes an analysis of Showtime’s 2020 spin-off City of Angels. Chapters examine the status of the series as a work of twenty-first-century cable television, contemporary Gothic-horror, and intermedial adaptation, spanning sources as diverse as eighteenth and nineteenth-century British fiction and poetry, American dime novels, theatrical performance, Hollywood movies, and fan practices. Featuring iconic monsters such as Dr. Frankenstein and his Creature, the “bride” of Frankenstein, Dracula, the werewolf, Dorian Gray, and Dr. Jekyll, Penny Dreadful is a mash-up of familiar texts and new Gothic figures such as spiritualist Vanessa Ives, played by the magnetic Eva Green. As a recent example of adapting multiple sources in different media, Penny Dreadful has as much to say about the Romantic and Victorian eras as it does about our present-day fascination with screen monsters. Hear the authors talk about the collection here: https://nrftsjournal.org/monsters-all-are-we-not-an-interview-with-julie-grossman-and-will-scheibel/

Women occupy a privileged place in horror film. Horror is a space of entertainment and excitement, of terror and dread, and one that relishes the complexities that arise when boundaries – of taste, of bodies, of reason – are blurred and dismantled. It is also a site of expression and exploration that leverages the narrative and aesthetic horrors of the reproductive, the maternal and the sexual to expose the underpinnings of the social, political and philosophical othering of women. This book offers an in-depth analysis of women in horror films through an exploration of ‘gynaehorror’: films concerned with all aspects of female reproductive horror, from reproductive and sexual organs, to virginity, pregnancy, birth, motherhood and finally to menopause. Some of the themes explored include: the intersection of horror, monstrosity and sexual difference; the relationships between normative female (hetero)sexuality and the twin figures of the chaste virgin and the voracious vagina dentata; embodiment and subjectivity in horror films about pregnancy and abortion; reproductive technologies, monstrosity and ‘mad science’; the discursive construction and interrogation of monstrous motherhood; and the relationships between menopause, menstruation, hagsploitation and ‘abject barren’ bodies in horror. The book not only offers a feminist interrogation of gynaehorror, but also a counter-reading of the gynaehorrific, that both accounts for and opens up new spaces of productive, radical and subversive monstrosity within a mode of representation and expression that has often been accused of being misogynistic. It therefore makes a unique contribution to the study of women in horror film specifically, while also providing new insights in the broader area of popular culture, gender and film philosophy.

As baby boomers gray, cinematic depictions of aging and the aged are on the rise. In the horror genre, fears of growing old take on fantastic proportions. Elderly characters are portrayed as either eccentric harbingers of doom--the crone who stops at nothing to restore her youth, the ancient ancestor who haunts the living--or as frail victims. This collection of new essays explores how various filmic portrayals of aging, as an inescapable horror destined to overtake us all, reflect our complex attitudes toward growing old, along with its social, psychological and economic consequences.