![\"cover](\"https:\/\/www.monsterlibrarian.com\/TheCirculationDesk\/wp-content\/uploads\/2021\/05\/Women_Make_Horror_Peirse.jpg\")
<\/a><\/figure><\/div>\n\n\n\nRutgers University Press, 2020<\/p>\n\n\n\n
ISBN-13: 9781978805118<\/p>\n\n\n\n
Available: Paperback, Kindle edition ( Bookshop.org<\/a> | Amazon.com )<\/a><\/strong><\/p>\n\n\n\n Women working in the horror industry today are severely underrepresented. Although they have been making horror for centuries, many women have been cut out of that history and\/or had their authorship and creative influence denied. What is more, women also enjoy consuming horror. Women Make Horror<\/em> explores women\u2019s creation and enjoyment of the genre through analysis of experimental cinema and filmmaking. The book includes seventeen essays, global in scope, discussing creatives, films, and festivals. While I think every one of these chapters deserve attention, I will highlight some that stand out.<\/p>\n\n\n\n \u201cWomen Make (Write, Produce, Direct, Shoot, Edit, and Analyze) Horror\u201d by Alison Peirse provides a solid introduction to the text. Peirse discusses how she garnered and selected the texts for this volume. She asked three questions of the writers: why do women make horror; what kinds of stories do women tell in horror; and what makes a horror film a feminist film (p. 8-9). Every contributor has a unique perspective as to how they answered these questions.<\/p>\n\n\n\n \u201cThe Secret Beyond the Door\u201d by Martha Shearer discusses Daria Nicolodi\u2019s authorship and, subsequently, creative content of the original Suspiria<\/em>. In \u201cWhy Office Killer<\/em> Matters\u201d, Dahlia Schweitzer provides valuable information on this film and argues that it is a film that not only restructures the representation of gender representation, but how horror films are expected to conform to specific tropes (p. 89). Donna McRae, in her chapter titled \u201cThe Stranger with My Face International Film Festival and the Australian Female Gothic\u201d, discusses the development of this essential film festival, as well as \u201cconsiders the influence of a female-centric genre filmmaking in Australia today\u201d (p. 146) and how it has been a force for good in creative circles. Erin Harrington\u2019s \u201cSlicing Up the Boys\u2019 Club\u201d provides an excellent analysis of the existing state of anthology and omnibus films and their lack of diversity, as well as a discussion regarding the women-led anthology, XX<\/em>. Harrington poses some good questions regarding representation for readers as well. \u201cThe Transnational Gaze in A Girl Walks Home Alone at Night<\/em>\u201d by Lindsey Decker presents an analysis through the lens of Hamid Naficy\u2019s Islamicate gaze theory rather than the typical male gaze theory used so often in feminist film analysis.<\/p>\n\n\n\n In \u201cGender, Genre, and Authorship in Ginger Snaps<\/em>\u201c, Katarzyna Paskiewicz analyzes the film Ginger Snaps<\/em>, which makes connections between a werewolf legend and a girl\u2019s coming-of-age story. Paskiewicz describes her study as having two purposes. She seeks to answer how the film might be productively read through a lens that recognizes filmmaking as a collective art form\u201d (p. 106), as well as wanting to \u201cregister the significance of women\u2019s film authorship within the horror genre histories in which they have been traditionally overlooked\u201d (p. 106). Early in the chapter, the author argues that directors are not the only creative voice in a film project. Editors, screenwriters, set designers, and more have influence over various aspects of a film (this is precisely why my colleague and I created Women in Film: A Film Index,<\/em> to recognize other creatives in horror. That the sentiment is recognized in this seminal text is encouraging).<\/p>\n\n\n\n Other chapters cover directors such as Gigi Saul Guerrero, Lucile Had\u017eihalilovi\u0107, and Alice Lowe. There are also chapters that focus on the New French Extremity, Korean horror cinema, fans as filmmakers, international films and events, and much more. The end of each chapter includes notes, and there is an extensive index at the end of the book.<\/p>\n\n\n\n Women Make Horror <\/em>is a much-needed collection of feminist horror film criticism. Some of these essays, such as Molly Kim\u2019s delve into Korean women-made cinema, are the first of their kind. and others showcase someone\u2019s overlooked or misappropriated contributions, such as Alicia Gomez\u2019s chapter on Stephanie Rothman\u2019s The Velvet Vampire, <\/em>a film originally credited to Roger Corman. Women Make Horror<\/em> would be an excellent resource for horror scholars or even an addition to a film studies course on the genre. The general reader could enjoy it, but there are many chapters that read more like an academic work. Highly recommended.<\/p>\n\n\n\n Reviewed by Lizzy Walker<\/p>\n\n\n\n Editor\u2019s note: Women Make Horror: Filmmaking, Feminism, Genre<\/strong> is a nominee on the final ballot for this year\u2019s Bram Stoker Award. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":" **Cross Posted from the Circulation Desk** Rutgers University Press, 2020 ISBN-13: 9781978805118 Available: Paperback, Kindle edition ( Bookshop.org | Amazon.com ) Women working in the horror industry today are severely underrepresented. Although they have been making horror for centuries, many women have been cut out of that history and\/or had their authorship and creative influence denied. What is more, […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[288],"tags":[348,347,350,349],"class_list":["post-2295","post","type-post","status-publish","format-standard","hentry","category-nonfiction","tag-feminist-horror","tag-horror-movies","tag-nonfiction-book-reviews","tag-women-in-horror"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p3Eu9f-B1","_links":{"self":[{"href":"https:\/\/www.monsterlibrarian.com\/ReadingBites\/index.php?rest_route=\/wp\/v2\/posts\/2295","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.monsterlibrarian.com\/ReadingBites\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.monsterlibrarian.com\/ReadingBites\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.monsterlibrarian.com\/ReadingBites\/index.php?rest_route=\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.monsterlibrarian.com\/ReadingBites\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2295"}],"version-history":[{"count":1,"href":"https:\/\/www.monsterlibrarian.com\/ReadingBites\/index.php?rest_route=\/wp\/v2\/posts\/2295\/revisions"}],"predecessor-version":[{"id":2296,"href":"https:\/\/www.monsterlibrarian.com\/ReadingBites\/index.php?rest_route=\/wp\/v2\/posts\/2295\/revisions\/2296"}],"wp:attachment":[{"href":"https:\/\/www.monsterlibrarian.com\/ReadingBites\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2295"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.monsterlibrarian.com\/ReadingBites\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2295"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.monsterlibrarian.com\/ReadingBites\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2295"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}