Culture Wars and Horror Movies

Noelia Gregorio-Fernández is an Associate Professor of American Studies at the International University of La Rioja, Spain. She was a visiting scholar at the Center for the Study of Ethnicity and Race at Columbia University, New York (USA), and is the author of The Rebel of Chicano Cinema: Robert Rodriguez in the Transnational Era (2020).Carmen M. Méndez-García is an Associate Professor of American Literature at the Department of English Studies, Universidad Complutense de Madrid Spain. Current research and teaching interests include twentieth and twenty-first-century U.S. literature, postmodernism and contemporary fiction, the Countercultures in the U.S., Spatial studies, Gender studies, and Medical Humanities.

• Part I: White Anxieties: Current Challenges.- 1. “Black Bodies/White Spaces: The Horrors of White Supremacy in Get Out (2017)” Hervé Mayer.- 2. “Postmodern Reality and the Post-Truth Era in It Comes at Night (2017), The Invitation (2015), and The Gift (2015)” Fernando Gabriel Pagnoni Berns.- 3. “‘I Can’t (Don’t) Breathe’: White Veterans and Twenty-First-Century Culture Wars "James Deutsch.- 4. “Midsommar (2019) and the Unbearable Whiteness of Horror "Donald L. Anderson. Part II: Economic Exploitation and Neoliberalism.- 5. “Preying on the Other: Culture War Narratives in Horror Hunting Films”Melenia Arouh and Daniel McCormac.- 6. “Hunting Humans: Allegories of Socioeconomic Dispossession across National Boundaries”Pablo Gómez-Muñoz.- 7. “‘We’re Americans’: Objective Violence and the Wounds of Neoliberalism in Jordan Peele’s Us(2019)”Fabián Orán Llarena.- 8. “Obliteration of the Unfit: Disposable other Bodies and Economic Privilege in the The Purge film series”Gamze Katı Gümüş.- 9. “Zombie Movie Ideology: A Panoramic Perspective”Peter Dendle.- Part III: Race Matters.- 10. “‘Tell Everyone’: Abjection and Social Justice in Candyman (2021)”Victoria Santamaría Ibor.- 11. “‘Say His Name’: Candyman (2021) as a Critique of Black Trauma Porn”William Chavez.- 12. “‘We Have Met the Enemy…’: Identity, Otherness, and the Return of the Oppressed in Jordan Peele’s Us (2019)” Thomas B. Byers.