Gender and Contemporary Horror in Television PDF
Preview Gender and Contemporary Horror in Television
GENDER AND CONTEMPORARY HORROR IN TELEVISION EMERALD STUDIES IN POPULAR CULTURE AND GENDER Series Editor: Samantha Holland, Leeds Beckett University, UK As we re-imagine and re-boot at an ever faster pace, this series explores the dif- ferentstrandsofcontemporarycultureandgender.Lookingacrosscinema,tele- vision, graphic novels, fashion studies and reality TV, the series asks: what has changedforgender?And,perhapsmoreseriously,whathasnot?Haverepresen- tations of genders changed? How much does the concept of ‘gender’ in popular culturedefineandlimitus? We not only consume cultural texts, but share them more than ever before; meanings and messages reach more people and perpetuate more understandings (andmisunderstandings)thanatanytimeinhistory.Thisnewseriesinterrogates whether feminism has challenged or change misogynist attitudes in popular culture. Emerald Studies in Popular Culture and Gender provides a focus for writers and researchers interested in sociological and cultural research that expands our understanding of the ontological status of gender, popular culture and related discourses,objectsandpractices. Titlesinthisseries Samantha Holland, Robert Shail and Steven Gerrard (eds.), Gender and ContemporaryHorrorinFilm Steven Gerrard, Samantha Holland and Robert Shail (eds.), Gender and ContemporaryHorrorinTelevision Robert Shail, Steven Gerrard and Samantha Holland (eds.), Gender and ContemporaryHorrorinComics,GamesandTransmedia Samantha Holland, Screen Heroines, Superheroines, Feminism and Popular Culture GENDER AND CONTEMPORARY HORROR IN TELEVISION EDITED BY STEVEN GERRARD Leeds Beckett University, UK SAMANTHA HOLLAND Leeds Beckett University, UK ROBERT SHAIL Leeds Beckett University, UK UnitedKingdom(cid:1)NorthAmerica(cid:1)Japan(cid:1)India(cid:1)Malaysia(cid:1)China EmeraldPublishingLimited HowardHouse,WagonLane,BingleyBD161WA,UK Firstedition2019 Editorialmatterandselection©thevolumeeditors;individualchapters©their respectiveauthors,2019. Reprintsandpermissionsservice Contact:[email protected] Nopartofthisbookmaybereproduced,storedinaretrievalsystem,transmittedin anyformorbyanymeanselectronic,mechanical,photocopying,recordingor otherwisewithouteitherthepriorwrittenpermissionofthepublisheroralicence permittingrestrictedcopyingissuedintheUKbyTheCopyrightLicensingAgency andintheUSAbyTheCopyrightClearanceCenter.Anyopinionsexpressedinthe chaptersarethoseoftheauthors.WhilstEmeraldmakeseveryefforttoensurethe qualityandaccuracyofitscontent,Emeraldmakesnorepresentationimpliedor otherwise,astothechapters’suitabilityandapplicationanddisclaimsanywarranties, expressorimplied,totheiruse. BritishLibraryCataloguinginPublicationData AcataloguerecordforthisbookisavailablefromtheBritishLibrary ISBN:978-1-78769-104-9(Print) ISBN:978-1-78769-103-2(Online) ISBN:978-1-78769-105-6(EPub) ISOQAR certified Management System, awarded to Emerald for adherence to Environmental standard ISO 14001:2004. Certificate Number 1985 ISO 14001 Contents ListofContributors xi Acknowledgements xv Introduction StevenGerrard 1 PARTI:THEMONSTROUSFEMININE Chapter1 ‘She’sThatKindofaWoman’:TracingtheGenderand SexualPoliticsoftheFemaleVampireviaTheHungerandAmerican HorrorStory:Hotel ChloeBenson 11 Chapter2 ‘IsThisaChickThingNow?’TheFeminismofZNation betweenQualityandTrashTV NadineDannenberg 23 Chapter3 WeepingAngels:DoctorWho’s(De)MonstrousFeminine KharaLukancic 35 Chapter4 TheRepresentationofOlderWomeninTwenty-first CenturyHorror:AnAnalysisofCharactersPlayedbyJessicaLange inAmericanHorrorStory NatashaParcei 47 Chapter5 ‘SheWasNotLikeIThought’:TheWomanasa StrangeBeinginMastersofHorror ErikaTiburcioMoreno 59 vi Contents Chapter6 TheMonsterWithin:LilyinPennyDreadful KylieBoon 71 Chapter7 FinalGirlsandFemaleSerialKillers:AReviewofthe SlasherTelevisionSeriesfromaGenderPerspective VíctorHernández-Santaolalla 83 PARTII:THEMONSTROUSMASCULINE Chapter8 ‘IsHannibalinLovewithMe?’GenderChangesinthe TelevisionSeriesHannibal ClareSmith 97 Chapter9 ‘I’mPissedOff,andI’mAngry,andWeNeedYour PermissiontoKillSomeone’:FrustratedMasculinitiesinCharlie Brooker’sDeadSet LaurenStephenson 107 Chapter10 TheProblematicRelationshipwithSympathetic VampiresintheTVseriesTheVampireDiaries FernandoCanet 117 Chapter11 SoManyChickFlickMoments:DeanWinchester’s CentrifugalEvolution SusanCosbyRonnenberg 131 PARTIII:THEMONSTROUSOTHER Chapter12 DepictionsofGender,HomesandFamiliesintheTV VersionofTheExorcist SamanthaHolland 151 Chapter13 HowiZombieRethinkstheZombieParadigm DahliaSchweitzer 163 Chapter14 DamagedSurvivorsinTheWalkingDead.Gender andtheNarrativeArcsofCarolandDarylasProtectorsand Nurturers MartaF.Suarez 175 Contents vii Chapter15 ‘SomeNormal,Apple-pieLife’:GenderingHome inSupernatural JessicaGeorge 187 Chapter16 FemaleAudiences’ReceptionofAmericanHorror StoryinGreece DespinaChronakiandLizaTsaliki 201 Chapter17 ‘Mother,I’veReallyHadEnoughofThis!YouCan’t JustLeaveMeAloneinThisAbyssWhereICan’tFindYou!’ Norman/NormaandBatesMotel StevenGerrard 215 Conclusion StevenGerrard 225 SelectBibliography 227 SelectFilmography 231 Index 235 Thispageintentionallyleftblank Thisbookisdedicatedtothefollowingpeople:mymum,Ann,andherbrother, Perry, for letting/making me watch horror films, especially Salem’s Lot on its first release when I was 9; my dad, Viv, for getting me to support Burnley FC and the mighty Wales; and finally, my mates Griff, Klause and Dr M without whomIwouldnothavehadsomuchfun,adventures,andBrewXIbeer.
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