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Archive for the ‘Feminist Halloween’ Category

mother-posterI didn’t end up seeing Mother!, especially not after reading Dahlia Grossman-Heinze’s article “I Saw ‘Mother!’ So You Don’t Have To” because I’m so sick of men writing work in which the violence men enact on the bodies of women, nonbinary folks, and femmes is used as OMG AN ALLEGORY I BET Y’ALL DIDN’T SEE THAT COMING. (Looking at you, My Absolute Darling, glad exploiting the abuse of women put money in a man’s pocket.)

Article contains major spoilers; quote below does not.

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For my teacher friends out there, Jane Dykema wrote an excellent essay on teaching Carmen Maria Machado’s “The Husband Stitch” and who gets believed.

When I teach Carmen Maria Machado’s story “The Husband Stitch,” the first in her collection Her Body and Other Partiesto my fiction workshops, it’s unlike teaching any other story.

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Today we have a guest post from Kathryn Hemmann, whom you may know from our collaborative panels on shôjo manga/anime, about the queer horror comic Nico’s Fortune.

The short stand-alone comic Nico’s Fortune is a collaboration between American writer Ryan King and Malaysian artist Daryl Toh. This is their second project together after the disturbing and eerie comic The Games We Played, which was published in October 2016. Nico’s Fortune is still plenty creepy, but the attention it devotes to the inner lives of its two protagonists serves to heighten its emotional impact while rendering its gruesome climax all the more shocking.

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After reading yesterday’s article, I found Wes Craven’s A New Nightmare on Netflix. I had actually seen some of it on TV in college, but never ended up watching the whole thing. This meta horror, as the author of “Choosing Monsters Over Women” writes, pre-dates the meta horror in Scream, which takes place in the late 90s with a group of teens who have seen 70s and 80s slasher movies.

In New Nightmare, Heather Lagencamp, the actress who played Nancy in A Nightmare on Elm Street and Dream Warriors, plays herself, with Wes Craven, Robert Englund, and Rob Saxon also playing themselves. Nancy and Wes have both been having nightmares about Freddy Krueger. Wes has been writing a screenplay and explains that Freddy is actually some ancient evil that gets trapped in narratives, which have to be kept alive to trap the monster. (If that’s not some franchise meta, I don’t know what is.) Nancy, however, isn’t just dreaming about Freddy—he is terrorizing and trying to murder her family.

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This favoritism of a monstrous child killer [Freddy Krueger] over a strong, well-rounded female protagonist says a lot about both our antipathy toward women and our glorification of violence toward women.

Here’s an article from Lady Geek Girl and Friends that takes a look at rooting for the monster over the female characters in a horror film:Sexualized Saturdays: Choosing Monsters Over Women.”

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3/14/2014 – New York, New York. Musical “Heathers” performing at New World Stages in New York. Photo by Chad Batka. Source: TIME

Shut up, Heather!

Sorry, Heather!

If dark comedy is more your flavor of horror/thriller than ghost stories, Heathers (1988) is on both Netflix and Hulu right now. I decided to revisit the movie after listening to the musical, which I found by chance on YouTube. Major spoilers for both the movie and musical.

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Annihilation! Annihilation! Annihilation!

 

Back in 2015, I reviewed The Southern Reach Trilogy by Jeff VanderMeer. In the first novel, the twelfth expedition to Area X, which has been cut off from the rest of the continent for 30 years, is lead by a five-woman team: the biologist, the anthropologist, the surveyor, the psychologist, and the linguist. Their mission: avoid contamination and survey the mysterious area from the lighthouse to the camp to the tunnel. Or is it a tower?

 

Alex Garland will be directing the film adaption.

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