Culture Wars and Horror Movies: Social Fears and Ideology in post-2010 Horror Cinema

Contents
Notes on Contributors
Chapter 1: Introduction: Culture Wars Revisited: Navigating the Ideological Landscape in Post-2010 Social Horror
	References
Part I: White Anxieties: Current Challenges
	Chapter 2: Black Bodies/White Spaces: The Horrors of White Supremacy in Get Out (2017)
		Black Bodies as White Commodities
		White Spaces and Black Vulnerability
		Reclaiming Cultural Space for Blackness
		Conclusion
		References
	Chapter 3: The Post-Truth Era and Monstrous Ambiguity in It Comes at Night (2017), The Invitation (2015), and The Gift (2015)
		Moral Uncertainty as the Millennial Monster
		Identification, Affect, and Monstrosity
		Shifting Monsters, Shifting Narratives
		Conclusions
		References
	Chapter 4: “I Can’t (Don’t) Breathe”: White Veterans and Twenty-First-Century Culture Wars
		The Two Don’t Breathe Films
		Reception of the Two Films
		The Horror Film Genre
		Don’t Breathe and Culture Wars
		References
	Chapter 5: The Unbearable Whiteness of Get Out (2017) and Midsommar (2019)
		The Douglass Dialectic
		From Literature to Cinema: The Emerging White Monster Archetype
		Confronting the White Monster
		The White Gaze
		Get Out and the White Monster’s Liberalism
		Midsommar and the Monstrosity of Whiteness
		Conclusion: The Sorcery of White Supremacy
		References
Part II: Oppression, Abjection, and Race: Black Bodies and Communities
	Chapter 6: “Tell Everyone”: Abjection and Social Justice in Candyman (2021)
		From Psychoanalytical Abjection to Social Abjection
		The Gentrified Ghetto as an Abject Space
		Negotiating Black Masculinity Through Abjection
		Storytelling, Abjection, and #BlackLivesMatter
		Conclusion
		References
	Chapter 7: “Say His Name”: Candyman (2021) as a Critique of Black Trauma Porn
		Introduction
		Gothic Horror
		Discursive Reclamation
		Black Trauma Porn
		Temporal Terror
		Black Trauma Resignified
		Conclusion
		References
	Chapter 8: “It’s Probably the Neighbors”: Identity, Otherness, and the Return of the Oppressed in Jordan Peele’s Us (2019)
		References
Part III: Economic Exploitation and Neoliberalism: Privilege, Class and the Other
	Chapter 9: The Revenge of the Serves: The Wounds of Neoliberalism in Jordan Peele’s Us (2019)
		Us or US? Horror Film and Its Allegories
		Reaganism as Original Sin
		The Violence of Capital and the Tethered
		The Tethered: Symptoms of the Neoliberal Era
		Conclusion: A Horror Film Lexicon for the Age of Inequality
		References
	Chapter 10: Preying on the Other: Culture Wars Narratives in Horror Hunting Films
		Introduction
		The Hunt
		The Manhunt Sub-genre
		Politicizing the Monster
		The Hunt and the Culture Wars
		The Culture Wars and the Hunt for an Identity
		The Location of Identity
		Identity and the Need for the Deplorable Other
		Conclusion
		References
	Chapter 11: Humans Hunting Humans: Allegories of Cultural and Economic Divides across National Boundaries
		The Hunt (2020): Subverting Ideological and Spatial Expectations
		The Hunt (2020): Culture Wars or Economic Wars?
		Conclusion: Fear of the Widening Income Gap
		References
	Chapter 12: “Obliteration of the Unfit”: Disposable Other Bodies and Economic Privilege in the The Purge Film Series
		The Disposal of the Unfit: Eugenics and the Elimination of the Underprivileged in The Purge
		Lacking Protective Assets in the Neoliberal US: The Underprivileged Citizen in The Purge
		References
Index