Animality and Horror Cinema

Peter Sands is a Fellow at the Leverhulme Centre for Anthropocene Biodiversity and the Department of English and Related Literature at the University of York, UK. His research focuses on ecological thinking and human–animal relationships in Cold War technoculture and in contemporary speculative fiction.Mo O’Neill has recently completed a PhD at the University of Sheffield. Their research concerns the history and philosophy of animal advocacy, with a particular focus on the Victorian and Edwardian period, but they are also interested in exploring the mutation of these logics of human-animal relations within the medium of contemporary cinema. Their work is published in the Palgrave volume Animal Satire, Route 57, and Green Letters, with upcoming publications in Victoriographies and the Journal of Literature and Science.Samantha Hind has a PhD from the University of Sheffield. Her forthcoming monograph, Speculative Flesh Ecologies: Flesh, Indistinction, and Speculative Fiction, explores flesh as a facilitator for human and nonhuman indistinction in twenty-first century speculative fiction. More broadly, she is interested in representations of nonhumans in speculative fiction literature, film, television, and art, and she is currently working on a project about conservation and speculative fiction and a chapter about virtual reality and farmed animals. Her work has been published in Interrogating Boundaries of the Nonhuman: Literature, Climate Change, and Environmental Crises (Lexington, 2022), Ecozon@ (15.1, 2024), and Clarkesworld science fiction and fantasy magazine.

• Chapter 1: Creaturely Fear: An Introduction.- Part 1: Animal Traces.- Chapter 2: Surrealism and Creaturely Holocaust Killing in Juraj Herz’s The Cremator.- Chapter 3: Jordan Peele’s Animals: Zoological Horror, Afropessimist Allegory and the Alien Superstar.- Chapter 4: The Animal-Image: On the Uses of Animals in Claire Denis’ Horror Films.- Part 2: The Multi-Sensorial Animal.- Chapter 5: A Horror Multiplied by the Eyes of Every House Fly: Compound Misconceptions and Prejudices on Filmic Insects.- Chapter 6: Killer Wail: Colouring Nonhuman Trauma in Orca: The Killer Whale.- Chapter 7: Sound, Silence, Horror, and the Hare.- Part 3: True Story Monstrosities.- Chapter 8: Animal Agency and Animal Sovereignties in Roar.- Chapter 9: Living with Saltwater Crocodiles: Respectful and Reverential Eco-Fear in Dark Age.- Chapter 10: “The Touch of his Hairy Hand Offended You”: The Epistemological Indeterminacy of Ted Kotcheff’s Wake in Fright.- Part 4: Meat, Sacrifice and Sympathy.- Chapter 11: Made in the Harming: Julia Ducournau’s Raw and the Cutting Continuities of Animal Montage.- Chapter 12: Flesh & Negation: Vegan Aesthetics and Sympathetic Action in David Lynch’s Eraserhead.