Titlebook: Culture Wars and Horror Movies; Social Fears and Ide Noelia Gregorio-Fernández,Carmen M. Méndez-García Book 2024 The Editor(s) (if applicab

全國性

Introduction: Culture Wars Revisited: Navigating the Ideological Landscape in Post-2010 Social Horrg of horror conventions and social commentary. As part of the horror film trend commonly known as “social horror” (Heba 1995; Kronja 2016), . championed the filmic representation of sociopolitical ideologies in the United States at a time when horror codes and sociocultural issues acquired recognize

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Black Bodies/White Spaces: The Horrors of White Supremacy in , (2017)starting point for Peele’s exploration of race in the United States was the way the racialized structures of social environments produced and organized unequal race relations. This structural perspective on race allows . to raise political questions that deeply resonated with the dominant concerns o

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“I Can’t (Don’t) Breathe”: White Veterans and Twenty-First-Century Culture Warsho single-handedly defends his home against three youths seeking to steal his savings. The film was so successful that five years later it spawned a sequel, . (Rodo Sayagues 2021) in which the veteran fights members of a brutal gang who invade his home and kidnap the girl he calls his daughter..Both

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“Say His Name”: , (2021) as a Critique of Black Trauma Pornlent avenger killing strangers as symbolic substitutes. Innocent Black men systematically targeted and lynched are reborn as vengeful revenants in search of communal recognition and propagation, conjured through performative utterance. The creation of a new Candyman signals that anti-Black hostility

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Preying on the Other: Culture Wars Narratives in Horror Hunting Filmsction of Donald Trump in 2016. His election polarized American society and entered popular cultural tropes, including horror films. It seems that the culture wars constructed an ideological “Other,” a monstrous Other who evinces the main features of the horror monster: it is menacing, as it aims to