Upending the radical vision of much 1960s and ’70s American horror cinema, the following decades saw a reactionary retrenchment, argues the academic and critic.
The Irish critic writes that horror, like all avant-garde art, operates at the extremes and tests its recipients’ tolerance levels.
Clover codified the notion of the final girl, but her 1992 text on the modern horror film extends her inquiry further than just that.
Benjamin Moser’s biography of Susan Sontag presents its subject as a mass of contradictions.
Christina Baillie and Martha Baillie have created a unique dual text that examines the linguistic manifestations of schizophrenia.