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Salem's Lot
Posted on November 24, 2018

Salem’s Lot and the Nuclear Threat

Dawn Keetley

Salem’s Lot is about vampires, of course. But as I recently re-read King’s 1975 novel and watched the exceptional TV miniseries (directed by Tobe Hooper) from 1979, it occurred to me that the latter—the film, not the novel–might also be about the nuclear threat. In 1979, America was entrenched in Cold War paranoia, with the attendant heightened fears of nuclear war. Filmed in July and August 1979 and airing on CBS on November 17 and 24, 1979, Salem’s Lot was bookended by two events critical to deepening anxiety about the nuclear threat. In only four more years, ABC’s The Day After (1983) would galvanize 100 million people gathered around their TVs to watch the devastating consequences of a nuclear attack on US soil, setting a record for the highest rated television film ever. And just before Salem’s Lot began filming, Three Mile Island Nuclear Generating Station in central Pennsylvania was the site, on March 28, 1979, of the worst nuclear accident in the US. Anxiety about the effects of nuclear energy and nuclear war was rampant.

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Posted on November 21, 2018

Boston Underground Film Festival 2019

Guest Post

Boston Underground Film Festival (BUFF) is gearing up to present its 21st annual event in 2019, and is currently calling for entries for its late submission deadline: 25th November.

Horror Homeroom guest writer Matt Rogerson (MR) caught up with BUFF’s Director of Programming, Nicole McControversy (NMcC), to talk about New England’s annual showcase and celebration of all things horror, fantasy and left of mainstream. Read more

It Follows
Posted on November 17, 2018

What’s the Real Horror in It Follows?

Guest Post

At the start of David Robert Mitchell’s 2014 film It Follows, protagonist Jay (Maika Monroe) has sex with a young man who calls himself Hugh (Jake Weary). He then chloroforms her, ties her to a wheelchair, and explains that a creature—referred to as “It”—is going to follow her until she has sex with someone else. The day after Jay’s assault, she stands in front of the bathroom mirror, looking down into her underwear, presumably examining whether “Hugh” left any noticeable physical changes. In a larger, symbolic sense, she is reflecting on her identity—asking herself whether her sexual encounter transformed her in some way. Jay is startled out of her reflection when a ball hits the window. Though Jay does not see him, the ball was thrown by a neighbor boy who is crouching out of sight to peek at the half-naked Jay. This screenshot encapsulates It Follows‘ running motifs of sexual surveillance and the transition from childhood to adulthood. By combining Jay’s internal contemplation and external objectification, It Follows demonstrates how entering adulthood entails submitting one’s body to both self-reflection and public consumption.

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Posted on November 12, 2018

Slashers, Sex and Sisterhood in the Slumber Party Massacre

Guest Post

The slasher subgenre has long held a complex relationship with women in horror—both onscreen and in the audience. Criticized for its misogynistic representation of women as passive victims, it has been simultaneously praised for its progressive portrayal of active, strong female heroines. In the 1960s, the emergence of the women’s movement in America was a symptom of second-wave feminism, which subsequently permeated the western world. This built upon the core values of first-wave feminism and the fight for gender equality in the early 1900s with seminal campaigns like the suffragette movement. Second-wave feminism extended the focus of this quest for equality—taking on the workplace, the family dynamic, and reproductive rights in regards to women’s bodies—and lasted well into the 1980s. Slumber Party Massacre (1982) serves as a brilliant illustration of what happens when the slasher meets second-wave feminism.

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