"Rarely addressed in film scholarship as a genre unto itself, horror-comedy is often placed within the broader categories of horror film, cult film, exploitation, “trash” film, or, less often, comedy. This range is reflected in the sources listed in this article: while some sources will be devoted solely to horror-comedy as a generic hybrid, a subgenre, or an aesthetic mode, many may discuss horror-comedy only in a brief section of a larger argument, or in terms of a specific filmmaker or film. This entry is organized as it is in order to underscore the affective richness of horror-comedy and the long history both of horror and comedy as aesthetic modes, while avoiding conflation with categories already well represented in other articles (see in particular Ernest Mathijs’s Exploitation Film). Despite often being ignored by scholars in favor of one of its two constituent genres, horror-comedy is not an uncontested field. Critics have, for instance, sharply debated the cultural value of horror-comedy films that invoke literary and aesthetic antecedents to play with the thin line between horror and laughter, versus horror-comedy that trades in broad humor or exploitative gore. The majority of horror-comedy scholarship in English focuses on Anglo-American examples, which is reflected in this article. However, the International Horror-Comedy section reflects the global popularity of horror film and suggests that the increasing globalization of the film industry is making possible greater transcultural communication even in such difficult-to-translate modes as horror-comedy."

"Since many fans read the film's chorus, sung late in the Show during the number 'Wild and Untamed Thing', of 'Don't dream it, be it!' as its overall message, the culture of the midnight showings of Rocky Horror allows and actively encourages otherwise socially deviant behaviours: for example, a straight, male fan can dress in drag without needing to identify as a transvestite (Locke 1999, Purdie 1999, and Wood 1991 all provide good overviews to the film's audience participation culture). The close register in these duets has the effect of infantilising the male singer. Since women and boys typically sing in similar vocal ranges, the close range of these duets gives a youthful, non-threatening quality to the performances. [...]when we later return to the bower, we see Rocky chained face-down on the bed, indicating that he was the receptive party in the consummation. [...]the 'Time Warp' represents the climax of the Rocky Horror experience, as after this point, the audience's energy begins to wane, leading toward what Purdie refers to as a 'recollection of order' in the events both onscreen and in the auditorium: 'Rocky Horror crowds characteristically go home fairly quietly and would not be allowed to repeat their experiences if they did not' (1999: 181)."

"Briefly reviews a horror film directed by German filmmaker Martin Walz and based on Ralf Konig's comic "Kondom des Grauens." States that the film features killer condom monsters designed by H.R. Giger and is about a government program to distribute condoms that ends in disaster when the condoms mutate into monsters. Notes that the story meanders but is characterized by a "bravura sleaziness.""

"This essay argues that Mitchell Lichtenstein's film Teeth (2007) is an exemplary appropriation of the femme castratrice, a sadistic and castrating female figure that subverts the patriarchal mythologies undergirding the gendered logics of both screen violence and cultural misogyny. The film chronicles Dawn's post-sexual assault transformation from a passive defender of women's purity to an avenging heroine with castrating genitals. First, I illustrate how Teeth intervenes in the gendered politics of spectatorship by cultivating identification with a violent heroine who refuses to abide by the stable binary between masculine violence/feminized victimhood. This subversive iteration of rape-revenge cinema is assisted by the filmmaker's introduction of camp, a playful and self-conscious cinematic style that renders transparent the fantasies guiding the cinematic construction of violence and the male gaze. Second, I argue that this revision of the rape-revenge genre equips audiences with important symbolic resources for feminist critiques of cultural misogyny. Teeth's avenging heroine updates the sexual politics of second-wave feminism to resist recent political efforts to regulate women's bodies."