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MemberCaitlin Duffy

… the Subversion of the American Zombie.” Horror Homeroom, 29 October 2018.
“’It’s a dog eat dog world’: The Neoliberal Horror of Texas Chain Saw Massacre II.” Oh, The Horror: Politics and Culture in Horror Films of the 1980s, edited by Kevin M. Scott & Connor M. Scott, McFarland & Company, Forthcoming.
“Sensory Overload and Edgar Allan Poe’s Mechanics of Terror.” Poe Studies, forthcoming.

I’m an English literature Ph.D. candidate at Stony Brook University. My work focuses on 19th century American gothic literature and contemporary horror films. I’m currently working on my dissertation, which traces a thread between early American gothic fiction and contemporary American horror films through the dual lens of 19th century American liberalism and present-day American neoliberalism. In particular, I’m interested in the ways that these two modes of reasoning depict what it means to be American, as well as the ways that 19th-century American gothic texts and contemporary American horror films challenge, support, and subvert these depictions through the deployment of repeated figures and environments. Outside of my academic life, I’m a podcast aficionado, tea addict, and novice yogi. Some of my favorite days are spent going to the theatre.

MemberDavid Evans-Powell

Hi!  I’m a part-time doctoral candidate in Film and Television Studies at the University of Birmingham studying folk horror on the British screen. My research interests include:

  • British cinema and television, particularly the horror, science-fiction, telefantasy, thriller, exploitation, comedy and historical genres;
  • British ‘low culture’ on screen;
  • Horror on screen;
  • Topographies, hauntology and psychogeography on screen;
  • History, heritage and landscape on screen;
  • British national identity mediated through film;
  • Genre theory.

MemberErin Wiegand

…ure, and Authenticity in the Exploitation Documentary”

2013–2016 — San Francisco State University: Master of Arts in Cinema Studies. Thesis: “Who Can Be Eaten? Consuming Animals and Humans in the Cannibal Horror Film.”

2002–2004 — New College of California: Bachelor of Arts in Humanities. Thesis: “Islam: What’s Fit to Print? The Representation of Islam and Muslims in the New York Times”

1999–2002 — L…

“The Margins of Mondo: Tracing Genre through 1960s American ‘Mondo’ Film Discourse.” Film International (forthcoming summer 2019)

“Who Can Be Eaten? Consuming Animals and Humans in the Cannibal Horror Film.” In What’s Eating You? Food and Horror on Screen, edited by Cynthia Miller and A. Bowdoin Van Riper. New York: Bloomsbury, 2017

“Marriage Bites: Lesbian Vampires and the Failure of Heterosexual Mono…

https://hcommons.org/members/erinwiegand/

MemberKhara Lukancic

… Volume 1, Issue 1, 310-313.

Lukancic, Khara. (2017). Sleeping Beauty on a Spaceship [Film Review of Passengers]. Film Criticism, Volume 41, Number 3, np.

Book Reviews

Lukancic, Khara. (2019). Robin Wood on the Horror Film: Collected Essays and Reviews ed. by Barry Keith Grant. Film & History, Volume 49, Number 1, 99-100.

Lukancic, Khara. (2018). Spiritualism, Celebrity, and Mass Media [Book Review of Supernatural Entert…

I’m a Film Scholar-Geographer (or Film-Geographer), interested in Film and Television Criticism, Horror Studies, Russian and Eastern European Cinema (especially Yugoslavian and Post-Yugoslavian Cinema), and Environmental Humanities. I am the Assistant Editor and Film and Television Reviews Editor of Film Criticism and sit on the Advisory Board of the Journal of Fantasy and Fan Cultures. She/Her/Hers

MemberKaterina Flint-Nicol

I’m an Independent Scholar specialising in British popular culture with a particular focus on class, gender and style in cinema and popular music. My AHRC funded PhD, ‘Men, Manors and Monsters: The Hoodie Horror and the Cinema of Alterity’ argues British cinematic realism in the twenty-first century is forged in a neoliberal discourse of class, with its form articulated by aesthetics traditionally associated with the gothic. My current research interests are stardom, performance and class in British cinema, and cultural and online practices involved in Paul Weller fandom.