Horror Studies — Volume 3
3.1 Spring 2012
Colin Carman, Shelley’s Medusa: ‘Eyes of Pain’ in The Cenci of 1819
Brooke McCorkle, Nature, Technology, and Sound Design in Gojira (1954)
Jayne Steel, ‘Doggy’s Got Teeth … Lots of Teeth’: Representations of Children and the Canine in Horror Film and Fiction
Andrew Slade, Remake as Erasure in The Texas Chain Saw Massacre
Sue Chaplin, From Blood Bonds to Brand Loyalties: Poppy Z. Brite’s Lost Souls and Alan Ball’s True Blood
Allan Cameron, Colour, Embodiment and Dread in High Tension and A Tale of Two Sisters
Deron Overpeck, ‘People are going to want to know what really went down’: Cloverfield and the Return to Innocence in Post-9/11 America
Kimberly Jackson, Splice: The Postmodern Prometheus
Reviews:
The Philosophy of Horror, edited by Thomas Fahy, reviewed by Kim Paffenroth
George A. Romero: Interviews, edited by Tony Williams, reviewed by Reynold Humphries
3.2 Autumn 2012
Special Issue, Horror After Psychoanalysis
Edited by Dale Townshend
Dale Townshend, Introduction: Horror after Psychoanalysis
Karmen Šterk, The Sublimity of Monsters: Kant, Lacan and the Society of Connoisseurs
Math Trafton, An Uninvited Analysis: The Horror of Interpretation in The Guard Brothers’ The Uninvited (2009)
Michael Grant, ‘Cinema is an abattoir’: Horror Film and Explanation
Colette Balmain, The Psychoanalytic Trap in Dario Argento’s L’uccello dalla piume di cristallo / The Bird with the Crystal Plumage (1970)
Xavier Aldana Reyes, Beyond Psychoanalysis: Post-millennial Horror Film and Affect Theory
Anna Powell, Unskewered: The anti-Oedipal Gothic of Patrick McGrath
Fred Botting, More things: Horror, materialism and speculative weirdism
Reviews:
Horror After 9/11: World Of Fear, Cinema Of Terror, edited by Aviva Briefel and Sam J. Miller, reviewed By Neil McRobert,
Hitchcock And The Cinema Of Sensations: Embodied Film Theory And Cinematic Reception, by Paul Elliott, reviewed by Linnie Blake
The Theology Of Dracula: Reading The Book Of Stoker as Sacred Text, by Noël Montague-Étienne Rarignac, reviewed by Aspasia Stephanou