Sue Carter on sleepovers, un-ironic humour, and why she’ll never watch The Human Centipede
“I have always been drawn to adrenaline-cranking moments that straddle that delicate space between hysterical fright and laughter.”
Christopher Sharrett on neoconservatism in the 1980s and ’90s horror film
Upending the radical vision of much 1960s and ’70s American horror cinema, the following decades saw a reactionary retrenchment, argues the academic and critic.
Gary Sherman’s Death Line is a downbeat film that sympathizes with its monster
The 1972 British film, about survivors of a cave-in relegated to life as cannibals in the tunnels under London, is a grim critique of how capitalism treats its workers.
Carol J. Clover and gender subversion in the modern horror film
Clover codified the notion of the final girl, but her 1992 text on the modern horror film extends her inquiry further than just that.
Gunnar Hansen on what constitutes horror
The original Leatherface asks whether Tobe Hooper’s 1974 film classic can be considered horror without any supernatural elements.