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Horror TV History: Censorship, Anxiety, and the Cold War

The first installment in a series looking at the development of the horror genre on TV.

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Episode 5: Ms. Ives, The New Old Final Girl

Penny Dreadful, having premiered at South by Southwest and airing on Showtime, is a “quality TV” version of episodic horror.

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Why Monsters? Hammer, Frankenstein, and the 1950s

Discussion of the beginnings of horror film history, starting with Hammer Film Productions in the 1950s. This post specifically looks at the significance and meaning of adapting Mary Shelley’s Frankenstein’s Monster to film in the 50s.

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Where Ireland, Decolonialism, and Weird Fiction Meet (Pt. 5)

The final installment for this blog series wraps up my discussion of Portrait of a Zombie and covers zombies, gender, and hermeneutical phenomenology.

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Where Ireland, Decolonialism, and Weird Fiction Meet (Pt. 4)

This installment covers haunting as a contagion and begins my discussion of Bing Bailey’s 2012 film Portrait of a Zombie.

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Where Ireland, Decolonialism, and Weird Fiction Meet (Pt. 3)

This installment discusses gender identity, Irish folklore, and formal experimentation in The Drowning Girl.

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Where Ireland, Decolonialism, and Weird Fiction Meet (Pt. 2)

This installment delves into the intersections of gender and sexuality in The Drowning Girl. Further this installment analyses where gender and sexuality intersect with mental illness and haunting in The Drowning Girl.

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Where Ireland, Decolonialism, and Weird Fiction Meet (Pt. 1)

This installment previews the concepts and ideas to be explored in this blog series, and critically addresses constructions of monolithic identities, especially problematic notion of a singular, normative, Irish identity.

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Creepy Children and the New Gothic

This post looks at the ways in which the gothic genre is updated in contemporary fiction and film.

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