Titlebook: Culture Wars and Horror Movies; Gender Debates in Po Noelia Gregorio-Fernández,Carmen M. Méndez-García Book 2024 The Editor(s) (if applicab

Mangle

C. West Churchman‘s Legacy and Related Worksal traditions of gender violence. They do question but nonetheless do not resist the temptation to capitalize on representations of the subversive woman as monstrous, which emerges as a resilient site of fear, especially, as I argue, in a post-MeToo world.

滔滔不絕的人

In Search of an Ethical Sciencensiders the phenomenon of justified female sacrifice in the form of physical and emotional disposability, as both Western and, more specifically, white man’s cultural phenomena, resulting in its normalization in a culture of isolation and (emotional) detachment within a globalized community as its m

BOLUS

無辜

Brittle

寵愛

https://doi.org/10.1007/978-0-387-36542-8naugh, as well as industry conditions that allowed horror cinema to turn back to the political and put more women in the director’s chair. From there, the chapter will provide synoptic overviews of each cycle, highlighting representative themes across a collective of films and their relation to the

cluster

是限制

Women in Organized Crime in Argentina’s bond is principally shown in the second part of the film (called “Detour”), quite stranded from civilization and within the natural and suburban environment, reinforced by the presence of the abject.

臨時(shí)抱佛腳

Harass

John P. Gigch (Professor Emeritus)and oppression and discusses the ways witchcraft grants (or does not grant) agency to women. Finally, the chapter addresses how this dark fairy tale uncovers fears and anxieties regarding intersecting hierarchies of gender and religion and its implications for the current sociocultural landscape in the United States.