Manchester University Press are delighted to announce that Film Studies Issue 15 (Autumn 2016) is now available.

For more information about this journal, click here

Articles in this issue (partial list):

Haunted Fascination: Horror, Cinephilia, and Barbara Steele

Author: Ian Olney

Regarded by fans and critics alike as the ‘Queen of Horror’, Barbara Steele stands as one of the few bona fida cult icons of the genre, whose ability to project an uncanny blend of deathliness and eroticism imbues her characters with a kind of necrophiliac appeal. Horror film scholars have tended to read Steele’s films in feminist terms, as texts that play to our fascination with the monstrous-feminine. This article approaches them from a different standpoint – that of cinephilia studies. Steele’s cult horror films are at their most basic level horror movies about cinephiles cherish. In so doing, they convert Steele into a necrophiliac fetish-object, an intoxicating fusion of death and desire. Considering Steele’s work from this perspective reveals the fluidity of the boundary between horror and cinephilia, demonstrating that horror has some-thing important to teach us about cinephilia and cinephilia has something important to teach us about horror.

Making Zines: Re-reading European Trash Cinema (1988-98)

Authors: Antonio Lazaro-Reboll

Discussion of the horror film fanzine culture of the 1980s and early 1990s has been dominated by an emphasis on questions around the politics of taste, considerations of subcultural capital and cultism in fan writing, and processes of cultural distinction and the circulation of forms of capital. Sconce’s concept of ‘paracinema’ has come to shape the conceptual approach to fanzines. The aim of this article is to refocus attention on other areas of fanzine production, providing a more nuanced and richer historicisation of these publications and the ways they contribute to the circulation, reception and consumption of European horror film. Focusing on the fanzine European Trash cinema(1988-98) I propose a return to the actual cultural object – the printed zine – examining the networks of producers converging around, and writing about Eurohorror films and related European trash cinematic forms, as well as the contents within the publication itself.

Putting the Brit into Eurohorror: Exclusions and exchanges in the History of European Horror Cinema

Author: Peter Hutchings

British horror cinema is often excluded from critical work dealing with European horror cinema, or, as it is frequently referred to, ‘Eurohorror’. This article argues that such exclusion is unwarranted. From the 1950s onwards there have been many exchanges between British and continental European-based horror production. These have involved not just international co-production deals but also creative personnel moving from country to country. In addition, British horror films have exerted influence on European horror cinema and vice versa. At the same time, the exclusion of British horror from the ‘Eurohorror’ category reveals limitations in that category, particularly its idealisation of continental European horror production.

Bethan Hirst

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