Examining the popularity of low-budget cinema, particularly slasher, occult, and rape-revenge films, the author argues that, while such films have been traditionally understood as offering only sadistic pleasure to their mostly male audiences, in actuality they align spectators not with the male tormentor but with the females being tormented--particularly the slasher movie's "final girls"--Who endure fear and degradation before rising to save themselves.--Adapted from publisher description.

Series finale! All good things must come to an end, as we wrap up this run of Batgirl with one final oversized celebratory issue! In the aftermath of “The Joker War,” Gotham is left in pieces that need to be picked up by Barbara and Alejo’s team-but is Gotham a city worth saving anymore, and how much longer does our girl have it in her to keeping fighting for it as Batgirl? Then, if Barbara is to ever give her relationship with Jason a chance, she knows she has to face him and finally make amends with the act that crippled him.

A mesmerizing novel...what begins as a gothic ghost story soon evolves into a wickedly twisted treasure hunt in The Supernatural Enhancements, Edgar Cantero's wholly original, modern-day adventure. When twentysomething A., the European relative of the Wells family, inherits a beautiful, yet eerie, estate set deep in the woods of Point Bless, Virginia, it comes as a surprise to everyone—including A. himself. After all, he never knew he had a "second cousin, twice removed" in America, much less that his eccentric relative had recently committed suicide by jumping out of the third floor bedroom window—at the same age and in the same way as his father had before him . . . Together with A.’s companion, Niamh, a mute teenage punk girl from Ireland, they arrive in Virginia and quickly come to feel as if they have inherited much more than just a rambling home and an opulent lifestyle. Axton House is haunted... they know it...but the presence of a ghost is just the first of a series of disturbing secrets they slowly uncover. What led to the suicides? What became of the Axton House butler who fled shortly after his master died? What lurks in the garden maze – and what does the basement vault keep? Even more troubling, what of the rumors in town about a mysterious yearly gathering at Axton House on the night of the winter solstice? Told vividly through a series of journal entries, cryptic ciphers, recovered security footage, and letters to a distant Aunt Liza, Edgar Cantero has written an absorbing, kinetic and highly original supernatural adventure with classic horror elements that introduces readers to a deviously sly and powerful new voice.

As her father lies gravely ill with pancreatic cancer, eighteen-year-old Victoria's last hope is to find a vampire in New Orleans, an impossible mission that rekindles a special friendship.

Winner of the the 2021 Best Edited Collection Award from BAFTSS Winner of the 2021 British Fantasy Award in Best Non-Fiction​ ​Finalist for the 2020 Bram Stoker Award® for Superior Achievement in Non-Fiction Runner-Up for Book of the Year in the 19th Annual Rondo Halton Classic Horror Awards​ “But women were never out there making horror films, that’s why they are not written about – you can’t include what doesn’t exist.” “Women are just not that interested in making horror films.” This is what you get when you are a woman working in horror, whether as a writer, academic, festival programmer, or filmmaker. These assumptions are based on decades of flawed scholarly, critical, and industrial thinking about the genre. Women Make Horror sets right these misconceptions. Women have always made horror. They have always been an audience for the genre, and today, as this book reveals, women academics, critics, and filmmakers alike remain committed to a film genre that offers almost unlimited opportunities for exploring and deconstructing social and cultural constructions of gender, femininity, sexuality, and the body. Women Make Horror explores narrative and experimental cinema; short, anthology, and feature filmmaking; and offers case studies of North American, Latin American, European, East Asian, and Australian filmmakers, films, and festivals. With this book we can transform how we think about women filmmakers and genre.

Vampires are arguably the most popular and most paradoxical of gothic monsters: life draining yet passionate, feared yet fascinating, dead yet immortal. Vampire content produces exquisitely suspenseful stories that, combined with motion picture filmmaking, reveal much about the cultures that enable vampire film production and the audiences they attract. This collection of essays is generously illustrated and ranges across sixteen cultures on five continents, including the films Let the Right One In, What We Do in the Shadows, Cronos, and We Are the Night, among many others. Distinctly different kinds of European vampires have originated in Ireland, Germany, Sweden, and Serbia. North American vampires are represented by films from Mexico, Canada, and the USA. Middle Eastern locations include Tangier, Morocco, and a fictional city in Iran. South Asia has produced Bollywood vampire films, and east Asian vampires are represented by films from Korea, China, and Japan. Some of the most recent vampire movies have come from Australia and New Zealand. These essays also look at vampire films through lenses of gender, post-colonialism, camp, and otherness as well as the evolution of the vampiric character in cinema worldwide, together constituting a mosaic of the cinematic undead.

"[A] future cult classic." —The New York Times Book Review "There’s Borges and Bolaño, Kafka and Cortázar, Modiano and Murakami, and now Laura van den Berg." —The Washington Post Finalist for the NYPL Young Lions Award. Named a Best Book of 2018 by The Boston Globe, Huffington Post, Electric Literature and Lit Hub. An August 2018 IndieNext Selection. Named a Summer 2018 Read by The Washington Post, Vulture, Nylon, Elle, BBC, InStyle, Refinery29, Bustle, O, the Oprah Magazine, Entertainment Weekly, Harper's Bazaar, Conde Nast Traveler, Southern Living, Lit Hub, and Vol. 1 Brooklyn. In Havana, Cuba, a widow tries to come to terms with her husband’s death—and the truth about their marriage—in Laura van den Berg’s surreal, mystifying story of psychological reflection and metaphysical mystery. Shortly after Clare arrives in Havana, Cuba, to attend the annual Festival of New Latin American Cinema, she finds her husband, Richard, standing outside a museum. He’s wearing a white linen suit she’s never seen before, and he’s supposed to be dead. Grief-stricken and baffled, Clare tails Richard, a horror film scholar, through the newly tourist-filled streets of Havana, clocking his every move. As the distinction between reality and fantasy blurs, Clare finds grounding in memories of her childhood in Florida and of her marriage to Richard, revealing her role in his death and reappearance along the way. The Third Hotel is a propulsive, brilliantly shape-shifting novel from an inventive author at the height of her narrative powers.