14. The Transnational Gaze in A Girl Walks Home Alone at Night

Chapters in this book

1. Frontmatter i
2. Contents vii
3. 1. Women Make (Write, Produce, Direct, Shoot, Edit, and Analyze) Horror 1
4. 2. Stephanie Rothman and Vampiric Film Histories 24
5. 3. Inside Karen Arthur’s The Mafu Cage 33
6. 4. The Secret Beyond the Door: Daria Nicolodi and Suspiria’s Multiple Authorship 47
7. 5. Personal Trauma Cinema and the Experimental Videos of Cecelia Condit and Ellen Cantor 60
8. 6. Self-Reflexivity and Feminist Camp in Freddy’s Dead: The Final Nightmare 69
9. 7. Why Office Killer Matters 81
10. 8. Murders and Adaptations: Gender in American Psycho 91
11. 9. Gender, Genre, and Authorship in Ginger Snaps 104
12. 10. The Feminist Art Horror of the New French Extremity 122
13. 11. Women-Made Horror in Korean Cinema 133
14. 12. The Stranger With My Face International Film Festival and the Australian Female Gothic 145
15. 13. Slicing Up the Boys’ Club: The Female-Led Horror Anthology Film 156
16. 14. The Transnational Gaze in A Girl Walks Home Alone at Night 170
17. 15. Gigi Saul Guerrero and Her Latin American Female Monsters 183
18. 16. Uncanny Tales: Lucile Hadžihalilović’s Évolution 196
19. 17. The (Re)birth of Pregnancy Horror in Alice Lowe’s Prevenge 209
20. 18. The Rise of the Female Horror Filmmaker-Fan 222
21. Acknowledgments 237
22. Notes on Contributors 239
23. Index 245