Psychological Horror, and Body Horror
Perhaps the most frightening of all horror films are those where there are no monsters and no demons other than the psychological states of the characters
Horror Cinema and the Mad Science of Nature
Horror films capitalise on our increasing sense of alienation from the natural environment, an alienation embodied in a growing ecological crisis, and symbolised on film by nature in revolt
Representation of Transgressive Female Desire in ‘Daughter of Darkness’
In this article, we will examine how ‘Daughter of Darkness’ combines elements drawn from both Gothic melodrama and Gothic horror modes to paint a picture of transgressive female sexuality
The Occult in Hammer Film Productions, and Ancient Traditions
This article argues that the portrayal of the occult in British horror films reflected contemporary realities of gender, class, race, colonialism and modernity as post-war Britain dealt with the end of empire and profound social changes
Social Aspects of the Monsters We Fear in the Movies
Horror films offer the pleasure of the intended affects among which we can identify a sense of suspense, a sense of mystery, and a sense of horror
Lost in Kubrick’s Maze and ‘The Shining’s ‘Room 237’
Few movies in the history of cinema have been as enigmatic and thought-provoking as Kubrick’s horror masterpiece ‘The Shining’ (1980)
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