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


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


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