Feminist Horror Cinema

这一奖学金揭示了十位女编剧、制片人、导演、编辑和作曲家的工作，这些女编剧、制片人、导演、编辑和作曲家在20世纪70年代至21世纪初为一些最著名的恐怖片和特许经营权工作。我揭示了类型电影制作中一个独特时期的故事，描绘了在工业、社会和学术界动荡的政治和文化变化中，女性的创造性斗争。我利用对女性作品《闪光》(1980)、《榆树街的噩梦》(1984)和《呐喊》(1996)等影片的制作研究，问道：在20世纪70年代至21世纪头10年间，恐怖片制作在工业、政治和文化方面发生了哪些重大转变？我们是如何从20世纪70年代的个人和行业对女权主义改革的拒绝，转变为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，它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本身更深刻。这些案例研究是一个向电影研究提出更大问题的机会：我们研究女性电影制作人、女权主义电影批评和恐怖片的方法和理论模型在多大程度上仍然有用？鉴于当前的政治和社会关切，它们可能如何重新构思？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研究建立一个原创的、批判性的和以实践为基础的研究模式。我对20世纪70年代激进和激进的电影女权主义和恐怖片理论进行了横断续续的重读，并产生了一种新的女性电影实践的社会意识理论。然后，我构建了一种迭代的、反身性的和周期性的方法来进行电影研究，这种方法跨越了散文、音频和视听媒体。最后，我使用创造性的非虚构类的技术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非虚构类作品。第一本是8万字的专著《女权主义恐怖电影》。这将在Shudder上的现场活动中推出，Shudder是一家拥有100多万订户的全球流媒体服务公司。我的书揭示了女性对恐怖片的未知贡献，并创造了一个研究电影史的变革性模型，从而使电影类型和历史的研究人员受益。第二个作品是《恐怖皇后》，这是一个根据我的书的初稿改编的播客系列。它将通过在包括恐怖学院在内的全球流行恐怖播客上的预告片活动来推出。这个播客让恐怖影迷受益，他们将了解一个不成文的恐怖电影时期，以及从女权主义角度思考电影的容易理解的方式。第三部作品是一部随笔电影，根据我的书的第二稿改编。这将发表在MAI：女权主义与视觉文化的特刊上。我将编辑这期特刊，并指导电影制作中的学术贡献者。最后一届柏林女孩电影节将通过在线现场展示活动发布这一问题。贡献者受益于新的技术技能。《Mai》和《Fend Girls》得益于在电影性别和类型方面的学术专长。我计划开展这些合作活动，以创造新的研究，并对现有的想法进行新的阐释。因此，我在奖学金中加入了时间，以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成果模式。总而言之，奖学金提供了三个不同的元素，使我成为我所在领域的领导者。首先，它使我能够做出学科领先的研究，质疑我们对理论、方法和形式的理解。其次，我将在播客和电影制作方面培养新的技术技能。最后，我将与广播公司、电影节、电影制作人、学者和粉丝一起开展合作发展活动。

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.