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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

Johan Höglund

normative, stable notions of individuality, and with an understanding of the world as conveniently divided into good and evil. Thus, this chapter will investigate the possibility that Nordic Gothic games critically explore the same ideological terrain. New Nordic media developers: Alan Wake While this chapter is the first study of Nordic Gothic new media as such, there have been attempts at mapping European Gothic and horror games. In ‘European Horror Games: Little

in Nordic Gothic
Gothic aesthetics and feminine identification in the filmic adaptations of Clive Barker
Brigid Cherry

. 15 See Brigid Cherry, ‘Beyond “Suspiria”: The Place of European Cinema in the Fan Canon,’ in Patricia Allmer, Emily Brick, and David Huxley (eds), European Nightmares: European Horror Cinema Since 1945 (London: Wallflower Press, 2012 ), pp. 25–34; and Cherry, ‘Subcultural Tastes,’ pp. 201

in Clive Barker
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Michael Goodrum and Philip Smith

direct response to the crippled and mutilated veterans who returned from the First World War.23 These images of disfigured bodies also found a home in cinema in the form of the rat-like vampire in Nosferatu and the autonomous hand in Orlacs Hände. European horror cinema, then, offered a window into the cultural unconscious after the First World War. American filmmakers found themselves scrambling to catch up. The earliest film interventions in horror came from Universal Studios, which began production of what is now known as the Universal Monsters series of films in

in Printing terror