Culture Wars and Horror Movies

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.

Explores the polarized ideological landscape in contemporary horror movies. Focuses on topics as diverse as neoliberalism, social justice, socioeconomic dispossession Highlights the vibrancy and complexity that characterizes the study of issues of identity politics

Auteur

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.

Contenu

Part 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 FilmsMelenia Arouh and Daniel McCormac.- 6. Hunting Humans: Allegories of Socioeconomic Dispossession across National BoundariesPablo 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 seriesGamze Kat Gümü.- 9. Zombie Movie Ideology: A Panoramic PerspectivePeter 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 PornWilliam Chavez.- 12. 'We Have Met the Enemy': Identity, Otherness, and the Return of the Oppressed in Jordan Peele's Us (2019) Thomas B. Byers.