05684nam a22004455i 4500001001800000003000900018005001700027007001500044008004100059020001800100024003500118050001100153072001700164072002300181072001600204245018100220250001800401264007900419300003500498336002600533337002600559338003600585347002400621505166900645520237802314650001704692650003504709650003104744650001904775650002204794650002604816700009104842700009104933710003405024773002605058776003605084776003605120776003605156856004605192978-3-031-53278-8DE-He21320251030111759.0cr nn 008mamaa240401s2024    sz |    s    |||| 0|eng d  a97830315327887 a10.1007/978-3-031-53278-82doi 4aPN1995 7aAPFN2bicssc 7aPER0040602bisacsh 7aATFN2thema10aCulture Wars and Horror Moviesh[electronic resource] :bGender Debates in Post-2010’s US Horror Cinema /cedited by Noelia Gregorio-Fernández, Carmen M. Méndez-García.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aXIII, 224 p.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda0 aPart I: Female Bodies/Disposable Bodies -- 1. “Woke Gal Gone Bad: Gender Trouble and Populism in Ready or Not (2019) and Wrong Turn (2021)” Eduardo Valls Oyarzun -- 2 “Moral Waste in the Key of Horror: The Perfection (2018) and the #MeToo Movement Onscreen "Noelia Gregorio-Fernández -- 3. “Rape Culture, Horror, Genre Hybridization and Feminist Reception in Jennifer’s Body (2009) and Promising Young Woman (2020)” Asier Gil Vázquez -- 4. “The Culture that Can’t Anymore: Ari Aster’s Midsommar (2019) as Pilgrimage of a Traumatized Society”Marta Brkljačić -- 5. “Universal Darkness: A Transnational Perspective on Social Horror”Elena Furlanetto._Part II: Female as Creation Force Revisited -- 6. “Mother! Nature: Creation, Apocalypse, Climate Skepticism, and Darren Aronofsky’s Mother! (2017)” Zachary Ingle -- 7. “Monsters, Women, and Magic: Intersecting Hierarchies of Gender and Religion in The Witch (2015)” Cristina Casado Presa -- 8. “Nature and Horror: An Ecocritical Reading of Take Shelter (2011)” Nisa Harika Güzel Köşker._Part III: Gender(ed) Anxieties -- 9. “The Masculinities of Neo-Confederate Cultural Warfare in Antebellum (2020)” Juan José Arroyo-Paniagua and Steven McClain -- 10. “Gaslighting, Entrapping, and Trauma: Notes on #MeToo Horror Films” Todd K._Platts -- 11. “Aging as a Trope in American Horror Movies: From The Children of the Corn (1984) to The Visit (2015)” Marta Miquel-Baldellou.-12. “Searching for ‘The Final Girl’: We Are What We Are (2013), Missing Testimonials, and Media Invisibility of Missing and Murdered Mexican Indigenous Women” Mayra Ramales.  a“The interweaving of gender and horror serves as an unsettling lens through which current socio-cultural and political upheavals can be read. The present publication offers a kaleidoscopic analysis of our contemporary moment through an array of films, with each one shedding light on the transgressions, fears, and traumas still inscribed on the gendered body. This is a must-read volume that turns its attention to film-captured corporeal violence that marks the 21st century.” Tatiani G. Rapatzikou- Associate Professor, Department of American Literature and Culture (Aristotle University of Thessaloniki, Greece). EAAS Secretary General 2014-2022. “Culture Wars and Horror Movies is an excellent survey of contemporary horror cinema within its various political and cultural contexts. Uniformly insightful, the essays gathered here illuminate much of what horror since the millennium is about. Highly recommended.” Barry Keith Grant- Professor Emeritus of Film Studies and Popular Culture (Brock University). Author of The Dread of Difference: Gender and the Horror Film. Navigating a polarized society in their representation of social values, twenty-first-century horror films critically frame conflicting and divisive ideological issues. Culture Wars and Horror Movies: Gender Debates in post-2010 US Horror Cinema analyses the ways in which these “culture wars” make their way into gender, focusing on the post-2010 US context and its fundamental political divisions. Approaching these topics from feminist and postfeminist theories to ecocritical views, this volume explores how contemporary horror movies engage with the current context of “culture wars.” Noelia Gregorio-Fernández is an Associate Professor of American Studies at the International University of La Rioja, Spain. She was a visiting scholar at the CSER at Columbia University, New York (USA), and is the author of The Rebel of Chicano Cinema: Robert Rodriguez in the Transnational Era (2020). Carmen M. Méndez-García is an Associate Professor of American Literature at the Department of English Studies, Universidad Complutense de Madrid (Spain). Current research and teaching interests include twentieth and twenty-first-century U.S. literature, postmodernism and contemporary fiction, the Countercultures in the U.S., Spatial studies, Gender studies, and Medical Humanities. 0aFilm genres. 0aGender identity in mass media. 0aMotion pictures, American.14aGenre Studies.24aMedia and Gender.24aAmerican Film and TV.1 aGregorio-Fernández, Noelia.eeditor.4edt4http://id.loc.gov/vocabulary/relators/edt1 aM. Méndez-García, Carmen.eeditor.4edt4http://id.loc.gov/vocabulary/relators/edt2 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303153277108iPrinted edition:z978303153279508iPrinted edition:z978303153280140uhttps://doi.org/10.1007/978-3-031-53278-8