"In The Silence of the Lambs: Critical Essays on a Cannibal, Clarice, and a Nice Chianti, editor Cynthia J. Miller compiles fifteen essays, contributed by authors from a wide range of disciplines, which are divided into three sections, each approaching the film from a different vantage point: “Situating the Silence” looks at the film in its cultural and historical context—as an adaptation, popular culture icon, and as an element in genre and character history; “Dissecting Evil” takes a closer look at portrayals of evil in the film, in both Hannibal Lecter and Buffalo Bill; and “Minds, Hearts, and Body Parts” offers critical explorations of gender, patriarchy, class, Orientalism, and humor as lenses for continued contemporary analysis of this classic film."
"Juliet Hulme and Pauline Parker were teenagers in New Zealand, ages 15 and 16, when in June 1954 they killed Pauline's mother. The murder resulted in a sensational court case, extensive local and international media coverage, and a public association of lesbianism with "evil," "insanity," and extreme violence. In 1991, two New Zealanders published Parker & Hulme: A Lesbian View. By zeroing in on the circumstances and significance of the case beyond the "mad" or "bad" sound bites bandied about almost 40 years earlier, the authors exposed the issues of sexuality and social control - classism, homophobia, racism - within which the headlines were mired. After the release of Heavenly Creatures - the successful movie based on the murder case - Juliet Hulme was "outed" as the well-known mystery writer Ann Perry, alive and well and living in Scotland. A second furor erupted, as the now 56-year-old Hulme/Perry disclaimed any memory of a lesbian involvement with her cohort."
"Violent women in cinema pose an exciting challenge to spectators, overturning ideas of 'typical' feminine subjectivity. This book explores the representation of homicidal women in contemporary art and independent cinema. Examining narrative, style and spectatorship, Loreck investigates the power of art cinema to depict transgressive femininity."
"This article discusses the film Hard Candy in relation to debates surrounding the meanings of feminism, post-feminism, and girl power. In particular, it explores the rape-revenge narrative as an articulation of ambiguous representations of young women and their relationship to both second-wave and third-wave feminisms. The central example discussed in this article presents a challenging and unsettling representation of a young teenage girl confronting an apparently sexually predatory photographer in his thirties. This article explores the construction of such a teenage avenger with reference to a range of precedents in both film and television. In particular, the article considers on what terms Hard Candy contradicts the positioning of teenage girls as weak and vulnerable."
"Taking in a wide range of film, television, and literature, this volume explores 21st century horror and its monsters from an intersectional perspective with a marked emphasis on gender and race. The analysis, which covers over 70 narratives, is organized around four primary monstrous figures--zombies, vampires, witches and monstrous women. Arguing that the current horror renaissance is populated with willful monsters that subvert prevailing cultural norms and systems of power, the discussion reads horror in relation to topics of particular import in the contemporary moment--rampant sexual violence, unbridled capitalist greed, brutality against people of color, militarism, and the patriarchy's refusal to die. Examining ground-breaking films and television shows such as Get Out, Us, The Babadook, A Quiet Place, Stranger Things, Penny Dreadful, and The Passage, as well as works by key authors like Justin Cronin, Carmen Maria Machado, Helen Oyeyemi, Margo Lanagan, and Jeanette Winterson, this monograph offers a thorough account of the horror landscape and what it says about the 21st century world."
"Women live and lead pathologized lives, as evidenced by past diagnoses of women’s disorders like “hysteria” and more modern issues surrounding beliefs in women’s hormones and biological inferiority. In analyzing women’s relationships with a wider male society and the role Kristevean abjection takes in patriarchal views on women’s minds and bodies, I aim to show how female characters in horror fiction – namely Charlotte Perkins Gilman’s short story “The Yellow Wallpaper” and Ari Aster’s 2019 film, Midsommar – take that abject view and reclaim it for their own power. Through this reclamation, women are able to gain control from patriarchal oppression, demonstrating that male created feminine ideals are a form of oppression, that women can obtain freedom from through abject forces."