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Journal articles on the topic 'Body horror'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Cruz, Ronald Allan Lopez. "Mutations and Metamorphoses: Body Horror is Biological Horror." Journal of Popular Film and Television 40, no. 4 (2012): 160–68. http://dx.doi.org/10.1080/01956051.2012.654521.

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2

Yeung, Lorraine. "Spectator Engagement and the Body." Film Studies 15, no. 1 (2016): 81–96. http://dx.doi.org/10.7227/fs.0002.

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This article investigates the emotive potency of horror soundtracks. The account illuminates the potency of aural elements in horror cinema to engage spectators body in the light of a philosophical framework of emotion, namely, the embodied appraisal theories of emotion. The significance of aural elements in horror cinema has been gaining recognition in film studies. Yet it still receives relatively scarce attention in the philosophical accounts of film music and cinematic horror, which tend to underappreciate the power of horror film sound and music in inducing emotions. My investigation aims

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Choi, Jiwoo. "Powers of (Body) Horror." Screen Bodies 9, no. 1 (2024): 42–53. http://dx.doi.org/10.3167/screen.2024.090105.

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Abstract French film director and screenwriter Julia Ducournau's sophomore body horror film, Titane (2021), like its predecessors of the same genre, examines the malleability and fragility of human corporeality. The film can be categorized under the New French Extremity, a genre coined by art critic James Quandt, who disapprovingly expressed his concerns with the rampant depictions of blood and violence in film; however, this article contends that Ducournau's film offer much more than mere shock factor and spectacle of taboo objects. Featuring a protagonist who is a manifestation of Donna Hara

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Celep, Ödül. "The Politics of David Cronenberg’s Cinema of Body Horror." Eklektik Sosyal Bilimler Dergisi 2, no. 2 (2024): 216–41. https://doi.org/10.61150/eklektik.2024020202.

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The genre of horror film was invented with the production of Dracula (1931). Since then, a large number of horror films have been made. Even though horror has often been considered an inferior film genre, the 20th Century witnessed several filmmakers, directors and films that have contributed to the elevation of the horror film genre. The scope of horror films has extended, and the types of horror have diversified over time, especially during the 1970s and 1980s. Body horror is a peculiar sub-genre of horror film genre. Though its history is not too long, a significant number of body horror fi

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Sakina, Cintya Dara, and Esther Risma Purba. "Mitos dan paradoks diskursus perempuan dalam film horor Kuime (Over Your Dead Body)." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 6, no. 2 (2022): 366–83. http://dx.doi.org/10.22219/satwika.v6i2.22952.

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Genre horor seringkali menghadirkan perempuan sebagai sosok mengerikan dan menakutkan. Penggambaran tersebut berangkat dari mitos tentang perempuan yang sengaja direpresentasikan sebagai sosok yang mengancam laki-laki. Sebagai akibatnya, sosok menakutkan dan mengerikan diidentikkan dengan perempuan. Terkait dengan mayoritas karya bergenre horor yang menampilkan perempuan sebagai sosok yang menakutkan dan mengerikan dengan teror dan penampilannya, horor di Jepang yang biasa disebut dengan kaidan (怪談) juga masih mempertahankan praktik tersebut. Bahkan dalam kaidan, perempuan dinarasikan dan divi

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Yana, Tsyrlina. "Non-Human Uncanny in Body Horror Movies." TECHNOLOGOS, no. 3 (2024): 37–48. http://dx.doi.org/10.15593/perm.kipf/2023.3.03.

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The article presents an attempt to theorize the modes of body transformation in body horror films, as well as their impact on the viewer's body experiences and, in a more complex perspective, on the understanding and conceptualization of the body. In doing so, the author includes the concepts of “horror body” and “non-human” in her research, considering new body horror films in a post-human and non-human perspective. In addition, the author turns to the concept of the “new flesh” by David Cronenberg to identify technological or specific mutations in body horror films. According to the author,

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Pinkowitz, Jacqueline. "The Black/Body Gothic: Exhuming and Transcending Racial Mixing, Passing, and Slavery's Afterlives in Lovecraft Country (2020)." Black Camera 16, no. 2 (2025): 22–45. https://doi.org/10.2979/blc.00055.

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Abstract: A Black Lives Matter‒era "new wave" of Black media has created an expansive space for exploring Black subjectivities and critiquing American racism. This includes a surge in Black horror that inverts the equation of blackness with monstrosity while showcasing Black fears and terror. This "new wave" is striking for its engagement of the gothic across different genres and subjects, beyond (Black) horror. This essay investigates this recent utilization of the gothic by Black creators—part of a "New Black Gothic"—while contextualizing it within a longer tradition of utilizing the mode to

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Angelova-Igova, Boryana. "The Female Athlete’s Body: From Glory to Body Horror." Filosofiya-Philosophy 34, no. 1 (2025): 68–77. https://doi.org/10.53656/phil2025-01-06.

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In this article, I will try to trace the metamorphosis of the female athlete’s body, the stages of her development until her professional death, when her body is already considered unnecessary, and society is disgusted or indifferent to the resulting „other“ being, which until yesterday aroused admiration and „national pride“. Also of interest are the interventions to which the athlete is forced to resort in order to preserve her job, dignity and prestige. For the athlete, leaving the disciplinary machine of sport is equal to a huge professional loss and life’s misfortune. Therefore, female at

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9

Abashnik, Uliana. "“THE SUBSTANCE”: BODY HORROR VS. AGEISM AND SEXISM." Journal of V. N. Karazin Kharkiv National University, Series "Philosophy. Philosophical Peripeteias", no. 71 (December 23, 2024): 161–69. https://doi.org/10.26565/2226-0994-2024-71-14.

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This article critically analyzes the main features of the latest body horror film “The Substance” (2024) by the famous modern French screenwriter and director Coralie Fargeat in the philosophical and anthropological aspects. The focus is on the manifestation and perception of the phenomenon of horror in all its components: fear, panic, horror, trembling, disgust, ugliness, etc. First, the main stages of the emergence and development of films in the body horror subgenre from the beginnings to the present are briefly indicated. Further, the peculiarities of the development of horror film themes

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Marak [UMK], Katarzyna, and Nelly Strehlau. "Thanatomorphose and Contracted: Feminine body and sexuality in horror and the horror of feminine body and sexuality." Literatura i Kultura Popularna 24 (April 18, 2019): 187–97. http://dx.doi.org/10.19195/0867-7441.24.14.

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Thanatomorphose and Contracted: Feminine body and sexuality in horror and the horror of feminine body and sexualityThe paper juxtaposes two films — Thanatomorphose directed by Éric Falardeau 2012 and Contracted directed by Eric England 2013 — in order to illustrate how both use similar themes of rot, disfigurement and decay of the body to paint different images of the female body and its aesthetic and functional value. Through the use of close reading, the analysis focuses on the manner in which the aforementioned themes in the discussed film texts are expressed within the boundaries of horror

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11

Berger, A. "Body Horror: Photojournalism, Catastrophe and War." BMJ 317, no. 7155 (1998): 421. http://dx.doi.org/10.1136/bmj.317.7155.421a.

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Briata, Ilaria. "Repentance through Fear: Cosmic and Body Horror in Sheveṭ Musar". European Journal of Jewish Studies 14, № 2 (2020): 264–84. http://dx.doi.org/10.1163/1872471x-bja10016.

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Abstract One of the most notorious early modern musar compilations, Sheveṭ Musar, challenges its readers with an obscure and gory imagery that can be classified as horror. This article proposes an exploration of these horrific images of death, decomposition, and hell. In order to contextualize a selection of passages from Sheveṭ Musar, a state of the art concerning research on Jewish horror will be provided and integrated with references to horror scholarship in areas of literature where this topic has received more investigation. What characterizes horror in Sheveṭ Musar appears to be the did

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Troy, Maria Holmgren. "Body Horror in Octavia E. Butler’s Clay’s Ark." Humanities 12, no. 5 (2023): 120. http://dx.doi.org/10.3390/h12050120.

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African American science fiction writer Octavia E. Butler’s works have attracted a great deal of academic interest since the 1990s onwards. Clay’s Ark (1984), however, has not gained as much scholarly attention as some of her other novels, and the centrality of Gothic aspects, in particular those related to body horror, has not been addressed. By focusing on how these aspects inform the structure, setting, and characters’ actions and relationships in this novel about an extraterrestrial infection that threatens and changes humanity, this article demonstrates how Butler employs and adapts strat

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Mondal, Subarna. "Destruction, Reconstruction and Resistance: The Skin and the Protean Body in Pedro Almodóvar’s Body Horror The Skin I Live In." Humanities 10, no. 1 (2021): 54. http://dx.doi.org/10.3390/h10010054.

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The instinct to tame and preserve and the longing for eternal beauty makes skin a crucial element in the genre of the Body Horror. By applying a gendered reading to the art of destruction and reconstruction of an ephemeral body, this paper explores the significant role of skin that clothes a protean body in Almodóvar’s unconventional Body Horror, “The Skin I Live In” (2011). Helpless vulnerable female bodies stretched on beds and close shots of naked perfect skin of those bodies are a frequent feature in Almodóvar films. Skin stained and blotched in “Tie Me Up! Tie Me Down!” (1989), nurtured a

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15

Kotwasińska, Agnieszka. "Body/self, interrupted: Necrotic transplants in Brandon Cronenberg’s Possessor (2020) and Antiviral (2012)." Horror Studies 16, no. 1 (2025): 61–80. https://doi.org/10.1386/host_00092_1.

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This article analyses Brandon Cronenberg’s films Possessor (2020) and Antiviral (2012) as examples of transplantation horror, enabling a deeper exploration of the shared onto-epistemological concerns of both horror production and organ transplantation. The two films are preoccupied with anxieties surrounding biomedical technologies and the violation of ‘somatic wholeness’ – the concept of the body as a unified, self-contained entity. A four-part critical grid common to horror and transplantation – transgression, corporeality, movement and openness – is employed to examine popular biomedical re

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Hawco, Victoria. "The Ludic Impact of Horror Games on the Body: Until Dawn, Amnesia: The Dark Descent, and Alien: Isolation." Hungarian Journal of English and American Studies 29, no. 2 (2023): 381–400. http://dx.doi.org/10.30608/hjeas/2023/29/2/9.

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Abstract Horror video games create an enhanced sense of fear compared to film and television of the same genre due to their use of ludic elements. These ludic elements, specifically haptic game design mechanics, play conditioning, and the coding of the games themselves all bypass the screen and controller to impact the body of the player. Understanding affect as the relationship of the body to the world, video games are therefore a strong affective medium for the horror genre. Three aspects enable video games to have this strong impact: haptic game design mechanics, play conditioning, and game

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Fawwaz, Muhammad Naufal. "KONSEP PENCIPTAAN FILM WAYANG HOROR BEKASAKAN." LAYAR: Jurnal Ilmiah Seni Media Rekam 9, no. 2 (2023): 65. http://dx.doi.org/10.26742/layar.v9i2.2416.

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ABSTRACT Bekasakan is a horror movie that uses shadow puppets as the object of its character. This work aims to create a new genre in the shadow puppets of Java, especially in packaging horror themes as special performance plays. Based on puppet performances which were later adapted into a movie perspective, this work is one of the most attractive offers for teh shadow puppets. The novelty of this work is the formation of the demonic figure of Mahakali, which is realized by depicting a strange anatomy of the body and at the same time giving the audience a scary impression. In addition to

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Pletz, Hendrik. "Das Wundmal im Zeitalter seiner technischen Reproduzierbarkeit." Body Politics 1, no. 2 (2013): 297–321. https://doi.org/10.12685/bp.v1i2.1440.

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English abstract: The human body poses challenges for society in general and specifically for its media. However, it is often the effect on the viewers’ bodies rather than the morally reprehensible mise-en-scene of the body on screen that fuels debate. This applies particularly to the horror movie genre. The shock experienced while watching a horror film becomes a threat to the inviolability of the viewer’s body and a threat to a socially constituted difference between fiction and reality resp. medium and world that is woven into the fabric of society itself. The article deals with the pedagog

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Abdel-Rahman Téllez, Shadia. "“The Horror! The Horror!”: Narrative Intersections between Gothic Fiction and the Embodied Experience of Chronic Pain and Disability in Christina Crosby’s A Body, Undone." Atlantis. Journal of the Spanish Association for Anglo-American Studies 46, no. 2 (2024): 221–38. https://doi.org/10.28914/atlantis-2024-46.2.12.

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In A Body, Undone: Living On After Great Pain (2016), Christina Crosby establishes a critical dialogue between horror fiction and her own experience of spinal cord injury and chronic neurological pain. In the chapter “The Horror! The Horror!” Crosby gives a phenomenological meaning to the Freudian concept of uncanniness (Unheimlich), a narrative element in horror stories that dislocates readers from their familiar world. Considering Edgar Allan Poe’s Gothic short story “The Fall of the House of Usher” as the prototypical terror tale that challenges logic and rationality, Crosby reflects on how

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Álvarez Trigo, Laura, and Xavier Aldana Reyes. "Digital Gothic: An Interview with Xavier Aldana Reyes." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (2022): 16–30. http://dx.doi.org/10.37536/reden.2022.3.1812.

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 Xavier Aldana Reyes is Reader/Associate Professor in English Literature and Film at Manchester Metropolitan University and a founder member of the Manchester Centre for Gothic Studies. He is author of Gothic Cinema (2020), Spanish Gothic (2017), Horror Film and Affect (2016) and Body Gothic (2014), and editor of Twenty-First-Century Gothic: An Edinburgh Companion (with Maisha Wester, 2019), Horror: A Literary History (2016) and Digital Horror (with Linnie Blake, 2015). Xavier is chief editor of the Horror Studies book series at the University of Wales Press, and has edited anthologies o

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Woodstock, Louise. "BOok Review: Body Horror: Photojournalism, Catastrophe and War." Journalism: Theory, Practice & Criticism 1, no. 2 (2000): 241–45. http://dx.doi.org/10.1177/146488490000100207.

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Smulders, Eric. "Body horror. Photojournalism, catastrophe and war - John Taylor." TMG Journal for Media History 2, no. 2 (1999): 170. http://dx.doi.org/10.18146/tmg.452.

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Tait, Sue. "Pornographies of Violence? Internet Spectatorship on Body Horror." Critical Studies in Media Communication 25, no. 1 (2008): 91–111. http://dx.doi.org/10.1080/15295030701851148.

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van, Laak Felicitas Sophie. "Becoming "Better Monsters": Queer Body Horror in InSEXts." Neo-Victorian Studies 13, no. 1 (2020): 153–85. https://doi.org/10.5281/zenodo.4320799.

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On the basis of Marguerite Bennett and Ariela Kristantina’s <em>InSEXts</em><em>:</em> <em>Year One</em> (2018), this article examines the nexus between neo-Victorianism and the comic genre. The comic’s deconstructive form has great potential to examine neo-Victorian historicity, because the juxtaposed panels resist closure. Applying a blend of queer and monster theory to explore <em>InSEXts</em>’s construction of sexual Otherness, the article firstly reads the protagonists’ transformations into butterfly-like creatures as a queer morphology interrogating the Victorian

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Surace, Bruno. "The flesh of the film: The camera as a body in neo-horror mockumentary and beyond." Northern Lights: Film & Media Studies Yearbook 17, no. 1 (2019): 25–41. http://dx.doi.org/10.1386/nl_00003_1.

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Abstract The neo-horror mockumentary, from the 1990s onwards, has been a genre in constant ascent, rejuvenating extremely codified strands. What unites these strands is undoubtedly a formal commonality since the premise of the genre is that of basing oneself on 'lucky' shots, which imitate a certain amateurism, while being also extremely corporeal. The neo-horror mockumentary treats the camera as a body in its own right, with its own potential and fragility, an actor like those it films. The body of the camera and the bodies filmed by it generate a dialectic of the flesh that makes the neo-hor

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Chung, Hee Young. "The Inter-Subjective Touch in On Body and Soul." Screen Bodies 9, no. 1 (2024): 26–41. http://dx.doi.org/10.3167/screen.2024.090104.

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Abstract This article examines the inter-subjective touch in Ildikó Enyedi's film On Body and Soul (2017), employing a phenomenological approach by analyzing the aspects of horror, pleasure, dreaming, and breath. This film recontextualizes horror and reaffirms pleasure through the inter-subjective touch. The binary setting between the dreaming world and the waking world, through the perception of touch, is used not to disdain the cruel reality but to arouse inter-subjectivity. The representation of breath illuminates another tactility regarding spatiality and inter-subjectivity. I argue that O

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Mendagalieva, A. G. "REPRESENTATION OF EMOTIONAL CONCEPTS IN A. VARGO’S PROJECT." Culture and Text, no. 53 (2023): 168–76. http://dx.doi.org/10.37386/2305-4077-2023-2-168-176.

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The article reveals emotional concepts in A. Vargo’s prose, which is an example of the horror genre in modern Russian popular literature. It is emphasized that negatively colored emotional concepts are most frequently used, among which the concept of “fear”, which belongs to the genre-forming features of horror, occupies a special place. The means of textual representation of the concepts “fear”, “anxiety”, “panic”, “horror”, “disgust”, “anger”, “rage” are revealed. The main attention in the article is paid to the conceptualization of emotional states through body language, i.e. verbalization

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Silva, Rafael Oliveira da, and Maria da Penha Casado Alves. "Da Boca Escancarada ao Riso Contido: compreendendo algumas imagens grotescas do horror." Revista Criação & Crítica, no. 39 (November 20, 2024): 362–81. http://dx.doi.org/10.11606/issn.1984-1124.i39p362-381.

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This article presents a discussion about horror as an aesthetic category present in several discursive genres. It seeks to elucidate the humor present in the horror discourse, the nuances and specificities of the carnival laughter present in its utterance. To this end, it brings a discussion based on Roas’ (2014) theory of fear in the fantastic and Caroll’s (1999) theory about horror images in dialogue with Bakhtin's (2010a, 2010b) theory of laughter, comics and carnival. From this dialogue emerges the understanding of the grotesque body of the monster and its role in the construction of reduc

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Floare, Flavius. "Redefining Biological Horror: The Aesthetic Evolution of an Infected Body in HBO’s ‟The Last of Us”." Studia Universitatis Babeş-Bolyai Dramatica 68, no. 1 (2023): 125–40. http://dx.doi.org/10.24193/subbdrama.2023.1.07.

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"The post-apocalyptic genre has seen a resurgence in 2023 due to HBO’s The Last of Us, a television adaptation based on Naughty Dog’s video game of the same name, where the society has collapsed due to an infection that causes human bodies to gradually mutate and become violent. There have been debates on whether the infected humans should be called “zombies”, as the word was banned on the production set and the creative director of the video game has refused numerous times to use the word when labeling the infected bodies. In this article, I am taking a closer look at the infection presented

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Wieser-Cox, Corina. "Spectacle of the Demonic Other." Screen Bodies 8, no. 2 (2023): 60–77. http://dx.doi.org/10.3167/screen.2023.080206.

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Abstract The monster-as-queer trope in horror cinema historically implemented the binary of self-versus-other as heterosexual heroine versus queer monster/villain. With the rise of queer creators and spectators within horror, this trope was questioned so that the queer(ed) monster became multifaceted. From its birth, the horror anthology series American Horror Story has questioned this binary thinking, and the 2018 season Apocalypse exemplifies this best. Using camp, the show creates a queer basis that overthrows normative depictions of sexuality and queer bodies in television. In Apocalypse—i

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Shaviro, Steven. "Body Horror and Post-Socialist Cinema: Györgi Pálfi's Taxidermia." Film-Philosophy 15, no. 2 (2011): 90–105. http://dx.doi.org/10.3366/film.2011.0027.

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Jerslev, Anne. "The horror film, the body and the youth audience." YOUNG 2, no. 3 (1994): 18–33. http://dx.doi.org/10.1177/110330889400200303.

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Kau, Edvin Vestergaard. "From concrete horror to symbolic significance in Body Memory." Short Film Studies 4, no. 2 (2014): 145–48. http://dx.doi.org/10.1386/sfs.4.2.145_1.

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Body Memory confronts the viewer with a tale of deported people’s experience of hopelessness and terror. In this article, I engage with the film and analyse elements of its concrete cinematic practice, in order to investigate how it achieves symbolic significance and universality.

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Austin, Guy. "Biological Dystopias: The Body in Contemporary French Horror Cinema." L'Esprit Créateur 52, no. 2 (2012): 99–113. http://dx.doi.org/10.1353/esp.2012.0023.

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Mikles, Natasha L. "The Forbidden Body: Sex, Horror, and the Religious Imagination." Journal of Contemporary Religion 38, no. 2 (2023): 396–98. http://dx.doi.org/10.1080/13537903.2023.2213025.

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Yakushenkova, Olesya S. "Terrifying Nudity: the Naked Truth of Horror Film." Corpus Mundi 3, no. 1 (2022): 123–59. http://dx.doi.org/10.46539/cmj.v3i1.62.

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Attitudes towards the naked body vary from culture to culture. Even within one culture, the nakedness often symbolises very different and sometimes arbitrarily contradictory things. It can be associated with eroticism, sanctity, aggression, a certain type of culture (from savagery to elitism), etc. Focusing on specific cinematic examples, the author examines the symbolism of naked male and female bodies in horror films. The author concludes that while nudity may serve to attract viewers to the cinema, it does not necessarily equate to sexuality. The nudity is frightening in its vulnerability,

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Baumgartner, Brad. "The Visceropoetics of Horror: Abdominal Crisis, Surgical Trauma, and Gastrointestinal Torment in Thomas Ligotti." CounterText 10, no. 3 (2024): 298–324. https://doi.org/10.3366/count.2024.0353.

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In this essay, I aim to understand the relation between horror and the abdomen in the work of Thomas Ligotti by piecing together a gastrointestinal anti-system that blurs the lines, or mucosal layers, among mind, body, and spirit, wherein the corporeal and the textual are interwoven through a ‘visceropoetics’. As such, I foreground the underlying prevalence of an alternating dialectic of physical/psychic collapse and posit the necessity for developing a theoretical approach to modern horror fiction that operates from an approach which reveals the inevitable collapse of the human body into stag

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Freire-Sánchez, Alfonso, Maria Fitó-Carreras, and Montserrat Vidal-Mestre. "Interferencias intertextuales entre Lovecraft, Sartre y Cronenberg." Trasvases entre la literatura y el cine, no. 6 (October 14, 2024): 10–23. http://dx.doi.org/10.24310/tlc.6.2024.19789.

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En 2002, el filósofo Eduard Punset entrevistó a David Cronenberg en el programa de televisión Redes. En dicha entrevista, el cineasta canadiense afirmó haber sido influenciado por una amalgama de escritores y pensadores, entre los cuales se encuentran Jean-Paul Sartre y H.P. Lovecraft. En este artículo analizamos las interferencias intertextuales así como las diferencias y similitudes entre la obra sartriana y los principios del horror cósmico lovecraftiano en el cine de Cronenberg. Del mismo modo, se trazan los preceptos ideológicos sobre los que esta intertextualidad ha podido influir en el

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KOOYMAN, BEN. "Whose body? Auteurism, feminism and horror in Hostel Part II and Jennifer’s Body." Australasian Journal of Popular Culture 1, no. 2 (2011): 181–95. http://dx.doi.org/10.1386/ajpc.1.2.181_1.

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Durante, Erica. "The Silence and the Fury: Samanta Schweblin's "Dissolved Horror" in Light of Mariana Enriquez's Gothic Horror." Revista de Estudios Hispánicos 58, no. 1 (2024): 63–81. http://dx.doi.org/10.1353/rvs.2024.a931919.

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Abstract: In this paper, the works of Argentinean writer Samanta Schweblin are explored, focusing on the concept of dissolved horror as a guiding framework. Dissolved horror describes a unique form of horror that goes beyond the typical extremes of gore and gothic imagery. Instead, it embraces an eerie, peculiar, and intimate lyrical dimension, prompting Schweblin to reshape semantics and challenge traditional narrative conventions in horror storytelling. To analyze Schweblin's aesthetic and poetic approach to dissolved horror, this article draws a parallel with the body of work by Mariana Enr

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Tortolani, Erica. "Horror, bodily agency and Peggy Ahwesh’s Nocturne (1998)." Short Film Studies 13, no. 2 (2023): 123–34. http://dx.doi.org/10.1386/sfs_00098_1.

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This article analyses the 1998 short film Nocturne, directed by artist Peggy Ahwesh in one of her most earnest engagements with the horror genre. It demonstrates the ways in which Nocturne uses visual and aural horrific elements to show how the gendered female body is socioculturally constructed. Importantly, its horrific elements open up the possibility for women to reclaim corporeal agency, a feat otherwise absent in the very source material that Ahwesh borrows from in her film. The female body is presented in Nocturne as uninhibitedly able to move, touch, explore, desire and, yes, kill, as

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Aguilar González, Metztli Donají. "Violencia y deshumanización del cuerpo: una lectura del body horror en “Subasta” de María Fernanda Ampuero." Revista Ciencia y Cultura 26, no. 49 (2022): 29–44. http://dx.doi.org/10.35319/rcyc.202249311.

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Debido a su escritura atroz y temas de lo perverso, María Fernanda Ampuero se ha convertido en una de las voces literarias más importantes de Ecuador y Latinoamérica. Su cuento “Subasta” contenido en Pelea de gallos (2018), sobresale de entre el resto porque en él se configura un universo de violencia masculina y traumas de la infancia que propician la intervención del cuerpo femenino hasta llevarlo al rango del body horror (horror corporal), un acto que trastoca los límites de lo monstruoso, lo repugnante y lo indeseable como última alterativa de emancipación en la esfera del abuso patriarcal

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MacDonald, Tanis. "“Out by Sixteen”: Queer(ed) Girls in Ginger Snaps." Jeunesse: Young People, Texts, Cultures 3, no. 1 (2011): 58–79. http://dx.doi.org/10.3138/jeunesse.3.1.58.

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The Canadian cult-horror film Ginger Snaps (2000) was marketed as a wry and wrenching adolescent female version of B-movie transformation narratives, conflating puberty with monstrosity while exposing how excesses of representation alter the effect of gender as a technology of feminine identity. Ginger Snaps complicates horror-film convention by emphasizing the intense relationship between the Fitzgerald sisters, suggesting that lesbian desire is part of the sisters’ resistance to normativity, best revealed by their blood pact to be “out by sixteen or dead in the scene.” By matching the hetero

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Balsam, Rosemary H. "On the Natal Body and Its Confusing Place in Mental Life." Journal of the American Psychoanalytic Association 67, no. 1 (2019): 15–36. http://dx.doi.org/10.1177/0003065119831767.

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These reflections concern ongoing confusions in holding together the gestalt of the natal body, sex, gender, and procreation. Highlighting theoretical confusions is the shifting history of relations among the material body, the “psychoanalytic body,”:sex, and gender. Studying these confusions and collecting more data may help the field advance where a rush to theoretical foreclosure will not. Observe, for example, how commonly foreclosing are the terms “masculine” and “feminine” when automatically applied to the merely biological attributes of a sexed body. More confusions arise from theorizin

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Le, Vincent. "Philosophy’s dark heir: On Nick Land’s abstract horror fiction." Horror Studies 11, no. 1 (2020): 25–42. http://dx.doi.org/10.1386/host_00009_1.

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Nick Land is a British philosopher who developed a compelling transcendental materialist critique of anthropocentric philosophies throughout the 1990s before leaving academia at the turn of the century and moving to Shanghai. While he is now best known for his controversial pro-capitalist political writings, he has also recently developed a theory of what he calls ‘abstract horror fiction’, as well as applied it in practice by writing two abstract horror novellas. Although one might think that Land’s horror fiction, like his recent far-right politics, marks a new and independent body of work f

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Jenkins, Candice M. "“Unimaginable from this distance”: Get Out , Black Speculative Horror, and Captive Embodiment." Studies in the Fantastic 16, no. 1 (2024): 39–59. http://dx.doi.org/10.1353/sif.2024.a923182.

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Abstract: In this essay, which attends to Jordan Peele’s 2017 Black horror masterpiece, Get Out , I consider how Peele’s visual narrative employs not only horror’s genre cues, but speculative tropes more broadly, to animate instances of embodied Black trauma and white gratification that can be linked directly to submerged American histories of enslavement. Hortense Spillers has memorably catalogued slavery’s “theft of the body—a willful and violent (and unimaginable from this distance) severing of the captive body from its motive will, its active desire”; my analysis in this essay zeroes in on

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Jerslev, Anne. "Violence and the body in contemporary action and horror films." YOUNG 4, no. 4 (1996): 39–53. http://dx.doi.org/10.1177/110330889600400404.

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Logsdon, Richard. "Where Have All the Vampires Gone? An Examination of Gothic Horror in BBC's Luther." Popular Culture Review 29, no. 1 (2018): 99–112. http://dx.doi.org/10.1002/j.2831-865x.2018.tb00219.x.

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Abstract:Gothic horror has found a home in several recent European crime dramas. One of these dramas is BBC's four‐season series Luther. Episode after episode, London “copper” John Luther tracks down a sociopathic killer whose monstrous actions are easily the equivalent of those committed by the creatures of traditional Gothic horror. Just as significantly, Luther's encounters with the evil represented by these killers taps into those anxieties that currently grip a European continent that has experienced mass shootings, mass stabbings, suicide bombings, baby trafficking, sex trafficking, and

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Baxter, James. "Samuel Beckett, Brian Evenson, and Contemporary Horror Fiction." Samuel Beckett Today / Aujourd'hui 37, no. 1 (2025): 173–90. https://doi.org/10.1163/18757405-03701006.

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Abstract Beckett’s works inspire highly generative, if oblique, legacies in the field of contemporary horror. This article explores Brian Evenson’s 2009 novel Last Days as a particularly concentrated site for Beckett’s influence. Detective Kline is abducted by members of a sinister cult dedicated to shearing off parts of their own body—a morbid inversion of the quasi-Beckettian dictum ‘less is more.’ Supplemented by Evenson’s own body of Beckett criticism, this essay reads Last Days alongside Beckett’s Molloy as a sustained study into the affect (or lack thereof) of extreme violence. In a 2014

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Trevisan, Isabella. "The Monstrous Woman: Julia Ducournau and Feminist Counter-Cinema." Film Matters 16, no. 1 (2025): 58–64. https://doi.org/10.1386/fm_00382_1.

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This article focuses on analyzing how Julia Ducournau’s films fall into the feminist counter-cinema school, challenging notions of gender and subverting common depictions of women through the lens of art-horror film and the body horror genre. Filmic aspects that are analyzed in this article are character development, themes, and motifs that cast a feminist-coded lens over the narrative; most importantly, the analysis examines the thematic significance of physical transformations, violent birth, generational trauma, and the portrayal of sexuality and violence.

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