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Feminist Horror Cinema

女权主义恐怖电影

基本信息

批准号：
AH/W000105/1
负责人：
Alison Peirse
金额：
$ 27.05万
依托单位：
University of Leeds
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2022
资助国家：
英国
起止时间：
2022 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FW000105%2F1
关键词：
Feminist Horror Cinema

项目摘要

This fellowship brings to light the work of ten women writers, producers, directors, editors and composers working on some of the most well-known horror films and franchises from the 1970s-2000s. I reveal the story of a unique period in genre filmmaking, charting the creative struggles of women amidst turbulent political and cultural changes in industry, society and academia. I utilise production studies of women's work on The Shining (1980), A Nightmare on Elm Street (1984) and Scream (1996), amongst others, and ask:What major industrial, political and cultural shifts took place in horror filmmaking between the 1970s-2000s? How did we move from individual and industrial rejection of feminist reform in the 1970s, to the fervently feminist horror filmmaking, criticism and fandom that emerged in the 2010s? This project is feminist in its attempt to deepen our understanding of the contributions of women to horror film. However, the feminist intent runs deeper than this desire alone. The case studies are an opportunity to ask bigger questions of film studies: To what extent are our methodological and theoretical models for studying women filmmakers, feminist film criticism and horror film still useful? How might they be re-conceptualised in light of current political and social concerns? What forms might the research take? The primary aim of the fellowship, then, is to establish an original, critical- and practice-based research model for doing women's film history. I offer an intersectional re-reading of 1970s activist and radical theories of cinefeminism and horror film, and generate a new socially conscious theory of women's film practice. I then construct an iterative, reflexive and cyclical methodology for doing film research that moves across prose, audio and audiovisual mediums. Finally, I employ techniques of creative nonfiction to retool disciplinary understandings of academic form, creating engaging narrative nonfiction outputs with wide public appeal.There are three major outputs. The first is an 80,000-word monograph, Feminist Horror Cinema. This will be launched in a live event on Shudder, a worldwide streaming service with over 1million subscribers. My book benefits researchers in film genre and history by revealing the unknown contributions of women to horror films, and by creating a transformative model for doing film history. The second output is Horror Queens, a podcast series based on the first draft of my book. It will be launched through a teaser campaign on globally popular horror podcasts including Faculty of Horror. The podcast benefits horror fans who will learn about an unwritten period of horror cinema, as well as accessible ways to think about film from a feminist perspective. The third output is an essay film, based on the second draft of my book. This will be published in a special issue of MAI: Feminism and Visual Culture. I will edit the special issue and mentor the academic contributors in filmmaking. The Final Girls Berlin Film Festival will launch the issue in an online, live showcase event. The contributors benefit from new technical skills. MAI and Final Girls benefit from academic expertise on film gender and genre. I plan for these collaborative activities to create new research, and to shed new light on existing ideas. As such, I have built time into the fellowship to reflect upon and integrate these new findings into drafts of my book, creating an innovative and cyclical mode of research reflection and production.In summary, the fellowship offers three distinct elements that establish me as a leader in my field. First, it enables me to produce discipline-leading research that interrogates our understanding of theory, method and form. Second, I will develop new technical skills in podcasting and filmmaking. Finally, I will undertake collaborative developmental activities with broadcasters, film festivals, filmmakers, academics and fans.

该奖学金揭示了10位女性作家，制片人，导演，编辑和作曲家在20世纪70年代至21世纪初的一些最着名的恐怖电影和特许经营中的工作。我揭示了类型电影制作中一个独特时期的故事，描绘了女性在工业，社会和学术界动荡的政治和文化变革中的创造性斗争。我利用对《闪灵》（1980年）、《猛鬼街》（1984年）和《尖叫》（1996年）等女性作品的制作研究，问：在20世纪70年代至21世纪初，恐怖电影制作发生了哪些重大的工业、政治和文化转变？我们是如何从20世纪70年代对女权主义改革的个人和行业拒绝，到2010年代出现的狂热的女权主义恐怖电影制作，批评和粉丝？这个项目是女权主义的，试图加深我们对女性对恐怖电影的贡献的理解。然而，女权主义的意图比这一愿望更深刻。案例研究是一个机会，问电影研究的更大的问题：在多大程度上是我们的方法和理论模型研究女性电影制片人，女权主义电影批评和恐怖电影仍然有用？如何根据当前的政治和社会问题重新定义它们？研究可能采取什么形式？因此，该奖学金的主要目的是为女性电影史建立一个原创的、批判的和基于实践的研究模式。我提供了一个交叉重读的20世纪70年代的激进主义和激进的电影女性主义和恐怖电影的理论，并产生一个新的社会意识的女性电影实践的理论。然后，我构建了一个迭代的，自反的和循环的方法来做电影研究，跨越散文，音频和视听媒体移动。最后，我运用创造性非虚构作品的技巧来重塑对学术形式的学科理解，创造出具有广泛公众吸引力的引人入胜的叙事性非虚构作品。第一部是8万字的专著《女性主义恐怖电影》。这将在Shudder的现场活动中推出，Shudder是一个拥有超过100万订阅者的全球流媒体服务。我的书通过揭示女性对恐怖电影的未知贡献，并通过创造一个变革性的电影史模型，使电影类型和历史的研究人员受益。第二个输出是Horror Queens，一个基于我的书初稿的播客系列。它将通过全球流行的恐怖播客（包括Faculty of Horror）上的预告片活动推出。播客有利于恐怖迷，他们将了解恐怖电影的一个不成文的时期，以及从女权主义的角度思考电影的可行方法。第三个输出是一个散文电影，基于我的书的第二稿。这将发表在MAI的特刊：女权主义和视觉文化。我将编辑特刊，并指导电影制作的学术贡献者。最后的女孩柏林电影节将推出一个在线，现场展示活动的问题。贡献者受益于新的技术技能。MAI和最终女孩受益于电影性别和流派的学术专业知识。我计划这些合作活动，以创造新的研究，并阐明现有的想法。因此，我在奖学金中安排了时间来反思这些新发现，并将其整合到我的书的草稿中，创造了一种创新和循环的研究反思和生产模式。总之，奖学金提供了三个独特的元素，使我成为我所在领域的领导者。首先，它使我能够产生学科领先的研究，质疑我们对理论，方法和形式的理解。第二，我将在播客和电影制作方面发展新的技术技能。最后，我将与广播公司，电影节，电影制片人，学者和粉丝开展合作发展活动。