[Commlist] CFP New Volume: Bloody Women! Women Directors of Horror

Title: Bloody Women! Women Directors of Horror

Collection Editors: Victoria McCollum (Ulster University, Derry) and 
Aislinn Clarke (Queen’s University, Belfast)

Deadline for Abstracts: 9th of September 2019

Deadline for Chapters: 1st of April 2020 (6,000 words)

Contact: (v.mccollum /at/ ulster.ac.uk) and (a.clarke /at/ qub.ac.uk)

Publisher: Rowman & Littlefield

Contact: (v.mccollum /at/ ulster.ac.uk)

Series: Critical Conversations in Horror Studies

Summary: Bloody Women! Women Directors of Horror is the first 
book-length exploration of female creators at the cutting edge of 
contemporary horror, turning out some of its most inspired and twisted 
offerings. Whilst Final Girls are prominent in horror films, behind the 
camera is a different story. Back in 2007, in response to a plethora of 
poorly-made misogynistic horror films trending at Box Office, horror 
scholar Barbara Creed called for “more thoughtful horror films that 
speak directly to female experiences.” In response, Guardian journalist 
Emine Saner countered, “there just aren’t enough female directors in any 
genre, but especially in horror.”

In the decade since that article was published, we’ve seen an explosion 
of women-helmed horror hybrids such as: the bitingly smart, subversive 
‘hormonal horror’ film Jennifer’s Body (Karyn Kusama, 2009); deliciously 
twisted American Mary (Jen and Sylvia Soska, 2013); low-key, 
hair-raising newlywed nightmare Honeymoon (Leigh Janiak, 2014); 
ingeniously constructed found-footage occult horror film The Devil’s 
Doorway (Aislinn Clarke, 2018); and gruesome French cannibal flick Raw 
(Julia Ducournau, 2016), which infamously left audience members seeking 
medical attention at the Toronto International Film Festival. A new wave 
of horror films helmed by women have helped intensify the genre by 
opening it up to stories that unsettle audiences in new and unique ways. 
At Sundance Film Festival, Jovanka Vuckovica, one of the makers of XX 
(2017), a female-helmed horror anthology, described the project as a 
“historic moment […] created in direct response to the lack of 
opportunities for women in film, particularly in the horror genre,” 
which, she argues, was “badly in need of new perspectives.”

In the years that followed, Rolling Stone would herald “the rise of the 
modern female horror film-maker,” whilst Jason Blum, founder of 
Blumhouse Productions (an increasingly central player in horror 
production) would claim to know not a single woman willing to direct a 
theatrical release. According to Blum “there are not a lot of female 
directors period, and even less who are inclined to do horror.” Hordes 
of rightfully disgruntled horror fans took to Twitter to correct Blum, 
who apologised later that day, stating, “today was a great day for me 
because I learned a lot and because there are a lot of women out there 
that I’m going to meet as a result of today so I’m grateful for it.” 
Ironically, Blum’s statement came at the premiere of Halloween (2018), 
which he produced, a film about three generations of kick-ass women and 
the ways male cruelty can make good women ‘bad’.

Taking a theoretical, historical and critical approach to horror 
directed by women, this volume considers how the gender landscape of 
horror filmmaking is changing. It unearths the long and rich history of 
female-fronted horror films that predate the better-known The Babadook 
(Jennifer Kent, 2016). It explores whether the genre provides a 
perennial springboard for rising stars behind the camera and if the 
malleability of horror makes it a genre of choice for visionary 
film-makers eager to stretch their wings. Is there a way in which 
female-helmed horror films are distinct from male-led projects or do the 
unique experiences of womanhood of different directors lead them to 
create unique work? In what ways is women-helmed horror responding, as 
Vuckovica suggests, to the industry’s stark diversity problem and other 
cruel external forces? Are there defining qualities and characteristics 
that can be attributed to the horror of women directors and how are such 
unique voices shaping horror and influencing the industry? Women 
directors of horror are becoming increasingly more difficult to ignore. 
As Canadian horror filmmaker Jen Soska cautions, “A revolution has started.”

Some Inspiration:

- Explorations of prolific horror auteurs: i.e. Karyn Kusama; The Soska 
Sisters, etc.

- Earlier horror works, especially 1980s: i.e. Mary Lambert; Mary 
Harron; Claire Denis, Ida Lupino and Stephanie Rothman, etc.

- Sinister, smart and wildly feminist horror: i.e. A Girl Walks Home 
Alone At Night; Carrie
- Analysis of particular themes, qualities and characteristics: i.e. 
grief and transformation (Prevenge, The Babadook); cannibalism (Raw, 
Trouble Every Day); coming-of-age (Jennifer’s Body, Carrie)

- Comparative analysis of how women directors of horror, and male 
directors of horror, treat particular themes: Does the female experience 
provide a distinct slant on things? I.e. Kimberly Peirce’s Carrie was 
read by critics as more empathetic than De Palma’s original.

- Aesthetics of Horror: i.e. Ana Lily Amirpour; Aislinn Clarke; Jenn 
Wexler; Anna Biller

- Queer Horror: i.e. Kimberly Peirce (Carrie); Slumber Party Massacre

- New French ‘Extremity’: i.e. Coralie Fargeat (Revenge); Julia 
Ducournau (Raw)

- Black horror directors: i.e. Nuzo Onoh (The Reluctant Dead); Graveyard 
Shift Sisters

- Latin American horror directors: Issa Lopez (Tigers Are Not Afraid); 
Gigi Saul Guerrero

 - Horror anthology segments: i.e. Jovanka Vuckovic;  Roxanne Benjamin 
(outspoken about their desire to work on studio projects); Roxanne 
Benjamin; Axelle Carolyn; Jodie Foster

- Industry case studies: i.e. Blumhouse’s first female director and 
controversy
- Career mobility case studies: i.e. Rachel Talalay, from assistant 
production manager on A Nightmare on Elm Street to director of Freddy’s 
Dead: The Final Nightmare

- Directorial debuts: Aislinn Clarke; Roxanne Benjamin; Jovanka 
Vuckovic; Axelle Carolyn; and the struggle to cultivate more films 
(hampered visibility and ascendancy)

- Horror Screenwriters: Diablo Cody; Aislinn Clarke; Barbara Marshall; 
Staci Layne Wilson

- Horror shorts i.e. Gigi Saul Guerrero: the Mexican co-founder of 
Luchagore Productions, who has made a dozen of gory, grindhouse-inspired 
short films; Jill Gevargizian, the Kansas City hairstylist who directs 
independent horror shorts, as well as running the long-running 
indie-horror showcase Slaughter Movie House; Izzy Lee; Jennifer Trudrung

- Women-Led and Women-Centric Horror Film Festivals: Women in Horror 
Film Festival; Sick Chick Flicks Film Festival; Etheria Film Night; The 
Bloody Mary Film Festival; Stranger With My Face; The Final Girls Berlin 
Film Festival and Scream Queen Filmfest
Submission Guidelines: abstracts (200 words or less, with a 50-word 
biography) due 9/9/19. Notifications made by end of September. Accepted 
and completed papers (6000) words, references included, due: 1st of 
April 2020. Please send abstracts to the editors at: 
(v.mccollum /at/ ulster.ac.uk) and (a.clarke /at/ qub.ac.uk).

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