Horror Homeroom

Posted on June 24, 2015

Top Ten Places in the North East Every Horror Fan Should Visit

Gwen

As I sat in Cape Ann, MA amid my travels along the northern east coast I have had time to reflect upon why I love this area so much. Besides the fact that I love the idea that I can blend in naturally with the sarcastic, smart, dark clothes wearing, coffee mainlining women of the north east; I especially love the fact that this area is a combination of majestic nature, bustling cities, and most importantly home of the greatest horror film locations. There is no ranking system here as it is all very subjective. So in the interest of my own compulsive need for order, I will list them from the northern most point downward. A note of consideration if you go to these sites, remember some are private property and if you feel compelled to visit, please respect their homes and lives.

Posted on June 22, 2015

Coded Queerness in Dracula’s Daughter (1936)

Elizabeth Erwin

Last week we took a look at how the Legion of Decency’s strict moral code caused horror filmmakers to get creative in their depictions of queerness. This week we are looking at how coding in a film works. Dracula’s Daughter (1936) traces the struggle of Hungarian Countess Marya Zaleska who, upon learning of the death of her father Count Dracula, believes the curse of her being a vampire will be lifted. When her hope is not fulfilled, she enlists the assistance of psychiatrist Dr. Jeffrey Garth whom she believes has the power to cure her. When his help too proves ineffectual, Marya flees to Transylvania intent on turning Garth into a vampire and her everlasting companion. As noted by film historians, Dracula’s Daughter contains a number of scenes in which a lesbian subtext is evident.

Posted on June 21, 2015

Creepshow (1982) and “Father’s Day” Celebrate Patriarchy

Gwen

“Father’s Day” is one of five short stories included in in the film Creepshow (1982). From the minds of George A. Romero and Stephen King, Creepshow pays homage to the EC horror comics of the 1950s while working out the 1980s challenges to patriarchy. I’ll focus on “Father’s Day” here, and and then critique the film’s treatment of the leading representations of patriarchy.

Posted on June 17, 2015

Review of Jurassic World: Of Dinosaurs and Monsters

Dawn Keetley

It may seem strange that I’m reviewing Jurassic World for a horror blog since none of the Jurassic Park films have ever been categorized as horror films: they are action, adventure, thriller, and science-fiction. But not horror. Why is that? Well, in large part it’s about marketing and studios striving to reach the largest possible audience; it’s about making sure the franchise is family-friendly. It’s also, though, because the films feature dinosaurs—natural creatures, not monsters. Right?

Posted on June 15, 2015

The Legion of Decency & Perversion in Early Horror

Elizabeth Erwin

As a genre known for pushing the boundaries of good taste, horror films occupy a unique position within American cinema. Because horror triggers an emotional response in audiences via the presentation of scenes meant to revile and offend, what is deemed to be horrific is largely dependent upon the time in which a film is made. In the 1930s, horror films were in a state of evolution. Trading in the supernatural, dreamlike qualities that defined 1920s horror, the films of the 1930s relied upon “otherness” as a marker of monstrosity. Villains came from far away lands and posed a threat to the American dream. Complicating these narrative was a calculated movement by critics of the genre concerned that depictions of perversion and violence within films were threatening the moral integrity of the culture. The end result of this effort to “clean up” films was a move by those making horror films to code stories so as to not arouse criticism.