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The fascist gendering of reality, beginning in the 1920s, found its fruition in the "horror" film of Europe, the antisemitism and exterminationist templates of crucifictionism demanding that Jews (and, by extension, women and non-whites, all the ultimate (M)Other) be killed or repressed...all of which, to be sure, date from Bram Stoker's vituperative hatred of women deriving from his rotting penis. During the 1930s-1940s, in the U.S., "horror" films rarely rose above filmed stage plays (Lugosi's Dracula & its Spanish double filmed at night both suffer from having interesting production stills, and stultifyingly boring atmospherics). And yet. Even in the Universal pictures, there is a none-too-subtle coding deriving from the Victorian racialist interpolations fueled by colonialist conquest. For all of the scholarly ink published since the 1960s on "horror" films, the semantic tap-dancing and evasions of their actual intent (the Horrorwood desire to have speechless women submit-or-be-murdered, women as masturbatory dolls) continues. The Halloween films, the Elm Street protonazi, the utter plotless stupidity of Jaws, Taken, Chainsaw, etc., need no elucidation. Only H.R. Giger's Alien (with its biomechanical-like insects) and Blade Runner (not really a "horror" film) rise above the eugenicist templates and protonazisms of what have been mentioned here. One need only look through Starlog, Fangoria, &c. to get a sense of the anti-intellectual, racialist, anti-women currents controlling "horror" film as a genre. And it fills one with profound sadness, to think that James Whale's two Frankenstein films -- with their wonderful subtle conjurations of transgendering and masterful artistry -- are forgotten. STEPHAN PICKERING / Chofetz Chayim ben-Avraham The Dinosaur Fractals Project 2333 Portola Drive # 4 Santa Cruz, California 95062-4250 USA [log in to unmask] website: http://groups.yahoo.com/group/paleo_bio_dinosaur_ontology theropod research summarized: <www.dinodata.net> see under PICKERING at their Reference Base