Browsing Tag

ecohorror

Posted on September 28, 2023

“There Are Better Ways to Die”: Final Girls and Ecohorror

Guest Post

Named for their natural settings, The Handmaid’s Tale season four finale, “The Wilderness” (2021) and Land (2021) are both, importantly, women-directed stories that expand ecohorror elements and the feminist horror genre, flipping the Final Girl horror trope. Protagonists June (Elisabeth Moss) and Edee (Robin Wright) are not simply the stereotypical Final Girls walking out of the woods after violence – a too-common horror trope in which girls and women are victims of violence, at the hands of men, in natural spaces where only men “survive.” June and Edee’s stories start after their traumas – horror already experienced – as they walk into the woods for their own types of healing and then walk out as complicated protagonists rather than flat female-victims-as-porn.

Carol Clover (2015) writes that while the Final Girl is a survivor, her role is mostly based in being demeaned and abused, a ‘“victim-hero,” with an emphasis on “victim”’ (p. x). And that victimhood has historically been rape/ trauma porn made for a certain type of male viewer (there are too many examples to list here). But June and Edee’s survival and renewal, rather than trauma, is the focus in these texts as they find redemption in the classic horror natural spaces for a very different audience. In a reversal of typical Final Girl horror tropes, ‘The Wilderness’ and Land empower women in natural spaces rather than using such spaces as instruments of trauma. These texts utilize ecohorror elements but showcase such natural spaces as redemptive for women, extending the Final Girl horror trope past the immediate violence and past its emphasis on women as victims.

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Posted on August 13, 2023

The Black Demon: Shark Horror Meets Folk Horror

Dawn Keetley

It’s summer, so shark movies abound, notably Meg 2: The Trench (Ben Wheatley, 2023) and The Black Demon (Adrian Grünberg, 2023). Both films feature not just a shark but a megalodon, suggesting the need to up the ante when it comes to shark fare – the ante, in this case, being the shark’s size. Neither film is faring terribly well at the hands of critics, although The Black Demon seems to be marginally more highly-praised. It’s not, in truth, a very good film. It is, however, an interesting one.

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book cover superimposed over image of woods
Posted on September 10, 2021

The Bloodcurdling Book Club: The Woods are Always Watching

Elizabeth Erwin

This week’s hair raising read is 2021’s THE WOODS ARE ALWAYS WATCHING by Stephanie Perkins. The novel’s setup is deceptively simple. College bound best friends Josie and Neena embark on a last hurrah camping trip only to find themselves terrorized by two killers. But while this IS a story of survival, it is also a poignant look at the emotional complexities of friendship and what it means to fight for others just as hard as you fight for yourself. On this podcast, we talk blood, guts, and spoilers so listener discretion is advised. 

And if you’re interested in exploring the woods as a setting of horror further, check out the recommended resources below!

Recommended Reading: Read more

Posted on June 14, 2021

The Bloodcurdling Book Club: Reading Summerville

Elizabeth Erwin

This week’s hair-raising read is 2013’s SUMMERVILLE by D.T. Neal. The story follows three friends who are planning to dive for some expensive brandy bottles they believe are sitting at the bottom of a South Carolina River. When the group encounters a hitchhiker to whom they decide to offer a ride, a series of events are put into motion that leaves no one unscathed. Part southern gothic and part ecohorror, this novella takes some big swings but do they pay off? Listen to the latest episode of The Bloodcurdling Book Club to find out!

Selected Reading on the Ecogothic: Read more

Posted on July 17, 2020

“Don’t be scared”: Change, Evolution, and The Beach House as Ecohorror

Guest Post

Jeffrey A. Brown’s The Beach House has been getting a lot of attention, largely positive, since its recent release on Shudder. As others have noted, Liana Liberato’s performance as Emily is excellent, and the film features an effectively creepy atmosphere, wonderful cinematography of the ocean (both from the beach and underwater), and one truly disturbing moment of body horror. (This is also a movie worth watching without knowing much about what you’re getting into, so please note that this is a spoiler-heavy discussion rather than a straightforward review).

Despite its tranquil-seeming title, The Beach House is fundamentally a movie about change and how we respond to it. The story begins with a young college-aged couple, Emily (Liana Liberato) and Randall (Noah Le Gros), taking a weekend trip to Randall’s dad’s beach house. They are at a transition point in their relationship and trying to reconnect (one key tension is between his dropping out of college to avoid the typical life of job, marriage, kids, and her plan to finish her degree in organic chemistry and go to grad school for astrobiology). Soon after arriving, they discover that another couple – Jane (Maryann Nagel) and Mitch (Jake Weber), friends of Randall’s dad – are already at the beach house. This couple is also at a transition point, making one last trip to the beach as Jane battles a serious illness and appears to be dying.

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