05642nam a22004575i 4500001001800000003000900018005001700027007001500044008004100059020003700100024003500137050001100172072001700183072002300200072001600223245018500239250001800424264007900442300003300521336002600554337002600580338003600606347002400642505151200666520243002178650002404608650003804632650002604670650003304696700009804729700009804827710003404925773002604959776003604985776003605021776003605057856004605093912001405139912001405153999001705167978-3-031-53836-0DE-He21320251030112021.0cr nn 008mamaa240430s2024    sz |    s    |||| 0|eng d  a97830315383609978-3-031-53836-07 a10.1007/978-3-031-53836-02doi 4aPN1995 7aAPFN2bicssc 7aPER0040602bisacsh 7aATFN2thema10aCulture Wars and Horror Moviesh[electronic resource] :bSocial Fears and Ideology in post-2010 Horror Cinema /cedited by Noelia Gregorio-Fernández, Carmen M. Méndez-García.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aXI, 231 p.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda0 aPart I: White Anxieties: Current Challenges -- 1. “Black Bodies/White Spaces: The Horrors of White Supremacy in Get Out (2017)” Hervé Mayer -- 2. “Postmodern Reality and the Post-Truth Era in It Comes at Night (2017), The Invitation (2015), and The Gift (2015)” Fernando Gabriel Pagnoni Berns -- 3. “‘I Can’t (Don’t) Breathe’: White Veterans and Twenty-First-Century Culture Wars "James Deutsch -- 4. “Midsommar (2019) and the Unbearable Whiteness of Horror "Donald L. Anderson. Part II: Economic Exploitation and Neoliberalism -- 5. “Preying on the Other: Culture War Narratives in Horror Hunting Films”Melenia Arouh and Daniel McCormac -- 6. “Hunting Humans: Allegories of Socioeconomic Dispossession across National Boundaries”Pablo Gómez-Muñoz -- 7. “‘We’re Americans’: Objective Violence and the Wounds of Neoliberalism in Jordan Peele’s Us(2019)”Fabián Orán Llarena -- 8. “Obliteration of the Unfit: Disposable other Bodies and Economic Privilege in the The Purge film series”Gamze Katı Gümüş -- 9. “Zombie Movie Ideology: A Panoramic Perspective”Peter Dendle -- Part III: Race Matters -- 10. “‘Tell Everyone’: Abjection and Social Justice in Candyman (2021)”Victoria Santamaría Ibor -- 11. “‘Say His Name’: Candyman (2021) as a Critique of Black Trauma Porn”William Chavez -- 12. “‘We Have Met the Enemy…’: Identity, Otherness, and the Return of the Oppressed in Jordan Peele’s Us (2019)” Thomas B. Byers.  a“In a time marked by cultural division and the rise of numerous social fears, Culture Wars and Horror Movies: Social Fears and Ideology in post-2010 Horror Cinema is an indispensable resource for readers who, through a thought-provoking analysis, want to understand how horror films reflect our deepest societal concerns.” Julio Cañero Serrano, Associate Professor of American Culture and Deputy Vice-Chancellor at the University of Alcalá, Spain’ for Serrano. “Bringing together contributions from an international group of scholars, this outstanding collection of essays investigates the sociopolitical dimensions of contemporary horror films. With clear-sightedness and elegance, the volume taps into the current debates on the American culture wars in order to advance the conversation about the significance of cinema in the twenty-first century. Readers are bound to find it fascinating.” Ludmila Martanovschi, Associate Professor of American Studies, Ovidius University, Romania’ for Martanovschi. Secretary of the Society for Multi-Ethnic Studies: Europe and the Americas (MESEA) In this volume, contributors explore the deep ideological polarization in US society as portrayed in horror narratives and tropes. By navigating this polarized society in their representation of social values, twenty[1]first-century horror films critically frame and engage conflicting and divisive ideological issues. Culture Wars and Horror Movies: Social Fears and Ideology in Post-2010 Horror Cinema analyses the ways in which these “culture wars” make their way into and through contemporary horror films, focusing on the post-2010 US context and its fundamental political divisions. 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 Center for the Study of Ethnicity and Race 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.973905 0aMotion pictures, American.96973414aGenre Studies.97390824aAmerican Film and TV.9723921 aGregorio-Fernández, Noelia.eeditor.4edt4http://id.loc.gov/vocabulary/relators/edt9745591 aM. Méndez-García, Carmen.eeditor.4edt4http://id.loc.gov/vocabulary/relators/edt9745602 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303153835308iPrinted edition:z978303153837708iPrinted edition:z978303153838440uhttps://doi.org/10.1007/978-3-031-53836-0  aZDB-2-LCM  aZDB-2-SXL  c59543d59543