Gender and Contemporary Horror in Television

Front Cover
Gender and Contemporary Horror in Television
Copyright Page
Contents
Dedication
List of Contributors
Acknowledgements
Introduction
	References
PART I: THE MONSTROUS FEMININE
	Chapter 1 ‘She’s That Kind of a Woman’: Tracing the Gender and Sexual Politics of the Female Vampire via The Hunger and Ame...
		1.1. Gender, Sexuality and the Female Vampire
		1.2. Timely and Timeless: Miriam and The Countess
		1.3. Mothers, Lovers and Transgressors of Limits: Female Vampires in Hotel
		References
	Chapter 2 ‘Is This a Chick Thing Now?’ The Feminism of Z Nation between Quality and Trash TV
		2.1. ‘Quality’, ‘Trash’ and ‘Feminist’ TV Shows
		2.2. Zombies as the Abject Other
		2.3. ‘I’m not so sure humanity’s worth saving’ – Z Nation’s Narratology
		2.4. ‘Is this a chick-thing now?’ – Z Nation’s Politics of Representation
		2.5. Feminism for Whom: The Sisters of Mercy
		2.6. The Zombie and the Post-human: Murphy, the Human–Zombie–Cyborg
		2.7. Conclusion
		References
	Chapter 3 Weeping Angels: Doctor Who’s (De)Monstrous Feminine
		3.1. Blink
		3.2. The Time of Angels, and Flesh and Stone
		3.3. The Angels Take Manhattan
		3.4. Conclusion
		References
	Chapter 4 The Representation of Older Women in Twenty-first Century Horror: An Analysis of Characters Played by Jessica Lan...
		4.1. Introduction
		4.2. Perspectives on Ageing
			4.2.1. American Horror Story
		4.3. Constance Langdon
		4.4. Sister Jude
		4.5. Fiona Goode
		4.6. Elsa Mars
		4.7. Conclusion
		References
	Chapter 5 ‘She Was Not Like I Thought’: The Woman as a Strange Being in Masters of Horror
		5.1. Introduction: Understanding Current Horror Genre on TV
		5.2. Blaming Women: The Female Monster as a Scapegoat
		5.3. Masters of Horror: Women as Sexual Predators
			5.3.1. Jenifer
			5.3.2. Deer Woman
		5.4. Conclusions
		References
	Chapter 6 The Monster Within: Lily in Penny Dreadful
		6.1. Lily’s Journey: ‘Who will you be?’
		6.2. Victor Frankenstein: ‘Women should not exert themselves.’
		6.3. Dorian Gray: ‘You are, I believe, more capable than perhaps you might appear.’
		6.4. Journeys End: ‘It is too easy being monsters; let us try to be human.’
		References
	Chapter 7 Final Girls and Female Serial Killers: A Review of the Slasher Television Series from a Gender Perspective
		7.1. From Slasher Films to Slasher TV Series
		7.2. The Slasher Killer
		7.3. The Victims of the Slasher
		7.4. The Final Girl(s) and the Final Boy(s)
		7.5. Conclusion
		References
PART II: THE MONSTROUS MASCULINE
	Chapter 8 ‘Is Hannibal in Love with Me?’ Gender Changes in the Television Series Hannibal
		References
	Chapter 9 ‘I’m Pissed Off, and I’m Angry, and We Need Your Permission to Kill Someone’: Frustrated Masculinities in Charlie...
		References
	Chapter 10 The Problematic Relationship with Sympathetic Vampires in the TV series The Vampire Diaries
		10.1. Introduction
		10.2. Sympathetic/Antipathetic Strategies and Convergent/Divergent Relationship Arcs
		10.3. Monstrosity/Humanity Continuum: Fluctuating Patterns of Sympathy/Antipathy
		10.4. Conclusion
		References
	Chapter 11 So Many Chick Flick Moments: Dean Winchester’s Centrifugal Evolution
		11.1. Supernatural as a Masculine Response to Buffy’s Female Focus
		11.2. Genre and Gender in Buffy
		11.3. From Stereotype to Complexity: Centrifugal Evolution
		11.4. Warrior Handmaiden
		11.5. Emotional Expression
		11.6. The Body on Display
		11.7. Responsive to Cultural Movements Regarding Gender Roles
		11.8. Social Class and Race
		11.9. Conclusion
		References
PART III: THE MONSTROUS OTHER
	Chapter 12 Depictions of Gender, Homes and Families in the TV Version of The Exorcist
		12.1. Introduction
		12.2. Homes
		12.3. Power and Workplace
		12.4. Families
		12.5. Domestic Violence
		12.6. Conclusion
		References
	Chapter 13 How iZombie Rethinks the Zombie Paradigm
		References
	Chapter 14 Damaged Survivors in The Walking Dead. Gender and the Narrative Arcs of Carol and Daryl as Protectors and Nurturers
		14.1. Gendered Experiences
		14.2. The Ordinary World
		14.3. The Hero’s Transformation through Pain
		14.4. Overcoming Flaws, becoming Protectors
		14.5. Rebirth and Transformation
		14.6. Transformation after Rebirth
		14.7. Second Transformations and the Guilt of the Hero
		14.8. Conclusion
		References
	Chapter 15 ‘Some Normal, Apple-pie Life’: Gendering Home in Supernatural
		15.1. ‘I Can Never Go Home’
		15.2. ‘Never, In Fact, Homeless’
		15.3. ‘Mommy’s Gone’
		15.4. ‘On the Other Side of This, We Can Start Over’
		15.5. Conclusion
		References
	Chapter 16 Female Audiences’ Reception of American Horror Story in Greece
		16.1. Introduction
		16.2. Looking for Audiences among Feminist, Psychoanalytic and Effects-laden Readings: The Contribution of Cultural Studies
		16.3. Research Method and Practice
		16.4. Making Sense of American Horror Story: How are Greek Women’s Tastes in the Text being Shaped
		16.5. Conclusions
		References
	Chapter 17 ‘Mother, I’ve Really Had Enough of This! You Can’t Just Leave Me Alone in This Abyss Where I Can’t Find You!’ No...
		17.1. Introduction
			17.1.1. Psycho
		17.2. Psycho’s Legacy
		17.3. Bates Motel: (2013–2017)
		17.4. The Monstrous Feminine/Masculine: Parallax Views of Norma/n
		17.5. The Monstrous Other – The Gingerbread House and Bates Motel
		References
Conclusion
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Index