Gender and Contemporary Horror in Television (Emerald Studies in Popular Culture and Gender)

The successful return of horror to our television screens in the post-millennial years, and across a multi-media range of platforms, demonstrates that this previously moribund genre is once again vibrant, challenging and long-lasting. The traditional TV audience of the past would have watched very few horror TV shows, because not many were made. But that has changed. Programme makers have tapped into their public's insatiable need - in these days of terrorism, violence and mayhem - to provide programmes that have high production values, engaging storylines, and plenty of frights and gore. Horror TV offers a safety-valve for its audience, one that enables them to enter into it from the safety of their armchairs. The era of instant access, streaming, downloading and binge-watching whole seasons over a weekend, where fandom has blossomed into a cultural force, clearly shows horror as a vital part of today's TV scheduling. This edited collection investigates the rising popularity of horror-television through deconstructing the gender roles within them via series of case studies including such programmes as Hannibal, American Horror Story, The Walking Dead, Penny Dreadful, Supernatural, The Exorcist and Bates Motel. By using a series of case studies and employing theoretical modes of close analysis, each chapter demonstrates how and why these TV shows are important in reflecting the changing gender roles within modern society. Front Cover Gender and Contemporary Horror in Television Copyright Page Contents Dedication List of Contributors Acknowledgements Introduction References PART I: THE MONSTROUS FEMININE Chapter 1 ‘She’s That Kind of a Woman’: Tracing the Gender and Sexual Politics of the Female Vampire via The Hunger and Ame... 1.1. Gender, Sexuality and the Female Vampire 1.2. Timely and Timeless: Miriam and The Countess 1.3. Mothers, Lovers and Transgressors of Limits: Female Vampires in Hotel References Chapter 2 ‘Is This a Chick Thing Now?’ The Feminism of Z Nation between Quality and Trash TV 2.1. ‘Quality’, ‘Trash’ and ‘Feminist’ TV Shows 2.2. Zombies as the Abject Other 2.3. ‘I’m not so sure humanity’s worth saving’ – Z Nation’s Narratology 2.4. ‘Is this a chick-thing now?’ – Z Nation’s Politics of Representation 2.5. Feminism for Whom: The Sisters of Mercy 2.6. The Zombie and the Post-human: Murphy, the Human–Zombie–Cyborg 2.7. Conclusion References Chapter 3 Weeping Angels: Doctor Who’s (De)Monstrous Feminine 3.1. Blink 3.2. The Time of Angels, and Flesh and Stone 3.3. The Angels Take Manhattan 3.4. Conclusion References Chapter 4 The Representation of Older Women in Twenty-first Century Horror: An Analysis of Characters Played by Jessica Lan... 4.1. Introduction 4.2. Perspectives on Ageing 4.2.1. American Horror Story 4.3. Constance Langdon 4.4. Sister Jude 4.5. Fiona Goode 4.6. Elsa Mars 4.7. Conclusion References Chapter 5 ‘She Was Not Like I Thought’: The Woman as a Strange Being in Masters of Horror 5.1. Introduction: Understanding Current Horror Genre on TV 5.2. Blaming Women: The Female Monster as a Scapegoat 5.3. Masters of Horror: Women as Sexual Predators 5.3.1. Jenifer 5.3.2. Deer Woman 5.4. Conclusions References Chapter 6 The Monster Within: Lily in Penny Dreadful 6.1. Lily’s Journey: ‘Who will you be?’ 6.2. Victor Frankenstein: ‘Women should not exert themselves.’ 6.3. Dorian Gray: ‘You are, I believe, more capable than perhaps you might appear.’ 6.4. Journeys End: ‘It is too easy being monsters; let us try to be human.’ References Chapter 7 Final Girls and Female Serial Killers: A Review of the Slasher Television Series from a Gender Perspective 7.1. From Slasher Films to Slasher TV Series 7.2. The Slasher Killer 7.3. The Victims of the Slasher 7.4. The Final Girl(s) and the Final Boy(s) 7.5. Conclusion References PART II: THE MONSTROUS MASCULINE Chapter 8 ‘Is Hannibal in Love with Me?’ Gender Changes in the Television Series Hannibal References Chapter 9 ‘I’m Pissed Off, and I’m Angry, and We Need Your Permission to Kill Someone’: Frustrated Masculinities in Charlie... References Chapter 10 The Problematic Relationship with Sympathetic Vampires in the TV series The Vampire Diaries 10.1. Introduction 10.2. Sympathetic/Antipathetic Strategies and Convergent/Divergent Relationship Arcs 10.3. Monstrosity/Humanity Continuum: Fluctuating Patterns of Sympathy/Antipathy 10.4. Conclusion References Chapter 11 So Many Chick Flick Moments: Dean Winchester’s Centrifugal Evolution 11.1. Supernatural as a Masculine Response to Buffy’s Female Focus 11.2. Genre and Gender in Buffy 11.3. From Stereotype to Complexity: Centrifugal Evolution 11.4. Warrior Handmaiden 11.5. Emotional Expression 11.6. The Body on Display 11.7. Responsive to Cultural Movements Regarding Gender Roles 11.8. Social Class and Race 11.9. Conclusion References PART III: THE MONSTROUS OTHER Chapter 12 Depictions of Gender, Homes and Families in the TV Version of The Exorcist 12.1. Introduction 12.2. Homes 12.3. Power and Workplace 12.4. Families 12.5. Domestic Violence 12.6. Conclusion References Chapter 13 How iZombie Rethinks the Zombie Paradigm References Chapter 14 Damaged Survivors in The Walking Dead. Gender and the Narrative Arcs of Carol and Daryl as Protectors and Nurturers 14.1. Gendered Experiences 14.2. The Ordinary World 14.3. The Hero’s Transformation through Pain 14.4. Overcoming Flaws, becoming Protectors 14.5. Rebirth and Transformation 14.6. Transformation after Rebirth 14.7. Second Transformations and the Guilt of the Hero 14.8. Conclusion References Chapter 15 ‘Some Normal, Apple-pie Life’: Gendering Home in Supernatural 15.1. ‘I Can Never Go Home’ 15.2. ‘Never, In Fact, Homeless’ 15.3. ‘Mommy’s Gone’ 15.4. ‘On the Other Side of This, We Can Start Over’ 15.5. Conclusion References Chapter 16 Female Audiences’ Reception of American Horror Story in Greece 16.1. Introduction 16.2. Looking for Audiences among Feminist, Psychoanalytic and Effects-laden Readings: The Contribution of Cultural Studies 16.3. Research Method and Practice 16.4. Making Sense of American Horror Story: How are Greek Women’s Tastes in the Text being Shaped 16.5. Conclusions References Chapter 17 ‘Mother, I’ve Really Had Enough of This! You Can’t Just Leave Me Alone in This Abyss Where I Can’t Find You!’ No... 17.1. Introduction 17.1.1. Psycho 17.2. Psycho’s Legacy 17.3. Bates Motel: (2013–2017) 17.4. The Monstrous Feminine/Masculine: Parallax Views of Norma/n 17.5. The Monstrous Other – The Gingerbread House and Bates Motel References Conclusion Select Bibliography Books Periodicals Websites Select Filmography TV Series Films Index Horror has found a resurgence on television in the post-millennial years. This book will investigate the changing and challenging roles that gender has undergone in TV horror, examining a range of shows, including Hannibal, American Horror Story, The Walking Dead, Penny Dreadful, Supernatural, The Exorcist, iZombie, and Bates Motel.