[Commlist] CFP: Global Horror Production in the Twenty-First Century

*Global Horror Production in the Twenty-First Century*

co-edited by Eddie Falvey and Alice Haylett Bryan

Call for Book Chapters

As we move into the third decade of the twenty-first century, it becomes 
increasingly clear that the taste for horror has not abated. In fact, 
horror has proven to be as successful as ever, with global horror 
productions contributing towards an ever-diversifying canon of 
critically lauded and commercially successful films reflective of new 
and persisting directions in horror filmmaking. It is already the case 
that twenty-first century horror has, in its many forms, invited 
sustained critical scrutiny. Echoing analytic traditions evinced by 
horror scholars such as Robin Wood, modern horror has often been found 
to be one the more prescient genres at work today, illustrated in the 
plethora of publications dedicated to picking apart and understanding 
the genre’s bearings upon, or reflection of (per Wood), the cultural 
moment(s) from which key films emerge. However, with most studies 
dedicated to the analysis of particular horror films, prominent critical 
tendencies have saturated the field at the cost of exploring pertinent 
production dynamics in the context of the genre’s development. Indeed, 
substantially less has been written on industry climates that pertain to 
the making of horror films, in both micro (studio horror from small to 
large) and macro (national film industries) modes. While some 
significant work does exist on these themes — indeed, one such volume 
that offers a precedent for this project is Richard Nowell’s (2014) 
edited collection/Merchants of Menace: The Business of Horror/— as we 
see it, there remains a pressing need to account for the advent of new 
modalities that have continued to emerge and/or evolve in recent years 
from across the world. This book will offer focused attention on the 
conditions of contemporary horror production to ask the question: how 
have horror films been produced in the twenty-first century? By paying 
attention to the vast variety of production systems and contexts 
currently operating, it will explore how specific artistic, 
socio-cultural, political and economic environments affect the 
production market of the horror industry, creating differing means of 
financing, producing and exhibiting horror films across the world. As 
such, this book will offer new scholarly insights on contemporary horror 
cinema, taking into account key global perspectives while paying 
attention to both studio horror as well as smaller productions and 
co-productions. Whilst remaining focused on industry contexts, we expect 
the work conducted here will also redress and expand upon current 
understandings of the form(s) of recent horror, as well as its reception.

             We are currently seeking chapter proposals for 
contributions that will be 6000-8000 words in length and delivered by 
September 2021. Please note that we already have chapters confirmed on 
the following topics: large studio American horror; small studio 
American horror; Canadian horror; Indian horror; French horror; Israeli 
horror. We are especially interested in proposals exploring examples of 
horror production that have traditionally been overlooked in 
scholarship, such as the horror films of small and/or small-producing 
nations. Expressions of interest should be sent to Eddie and Alice 
(atglobalhorrorproduction /at/ gmail.com) 
<mailto:(globalhorrorproduction /at/ gmail.com)>. All abstracts must be sent to 
the same email address no later than January 31^st 2021. We will notify 
individuals of our decision by February 26^th 2021.

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