Broadening the Horror Genre

Jamie L. McDaniel is Professor of English in the School of Writing, Language, and Literature at Radford University, where he teaches courses in 19th-, 20th-, and 21st-century British Literature, Disability Studies, Game Design, and Film Studies. He also serves as an affiliate faculty member in Cinema and Screen Studies, founding coordinator of the Major in English with a Concentration in Game Studies, and director of Women’s and Gender Studies. He has published articles on accessibility in business games, representations of disability in horror films, and the relationship between film adaptation and disability in a variety of edited collections and journals, including Gender and History; Culture, Medicine, and Psychiatry; The Midwest Quarterly; Where Is Adaptation? Mapping Cultures, Texts, and Contexts; and Not Your Mama’s Gamer Journal.Andrea Wood is Professor of Film and Media Studies in the English Department and affiliated faculty in the Women’s, Gender, and Sexuality Studies program at Winona State University, where she teaches classes on horror, science fiction, and LGBTQ+ cinema; film theory and criticism; and Japanese manga and anime in a global context. Her work has been featured in several edited collections as well as journals such as Women’s Studies Quarterly, Feminist Studies, Journal of Graphic Novels and Comics, JCMS: Journal of Cinema and Media Studies, Journal of Popular Romance Studies, and Culture, Medicine, and Psychiatry. She is also co-editor of the anthology Unnatural Reproductions and Monstrosity: The Birth of the Monster in Literature, Film, and Media (2014).

• Introduction: Why Horror ReduxPart One: Cinematic and Televisual Horror Redux1. Haunted Castle 3D and Giant Screen Horror2. Sonic Arcanum: Sound, Ritual, and Magic in Contemporary Horror3. The Curious Case of Paranormal Television4. A Brief Study of the History, Evolution, and Influence of America’s Most Iconic Horror Film Posters and ArtistsPart Two: Disability, Accessibility, and the Monstrous-Feminine in Horror Video Games and Tabletop Games5. “She’s Inside Me. She’s Inside Everyone”: Female Agency and the Monstrous Mother in Resident Evil Biohazard and Village6. Player’s Preference and Horror Gaming: Accessibility and Narrative Equity in Naughty Dog’s The Last of Us Part II7. Horror Film Tropes in Tabletop Games: Metadaptation, Procedural Rhetoric, and the ‘Horror’ of DisabilityPart Three: Websites, Reviews, and Other Horror Paratexts8. Horror, Fascism, and Expressionism: Jon Rafman’s Art in the Age of 4Chan9. Spies in the Dark: Siskel and Ebert and the Slasher Film10. Borderline Experimental:’ Red Letter Media Plays the Pandemic