Amanda Howell is Senior Lecturer in Screen Studies at Griffith University, Australia. Her most recent publications appear in Continuum and The New Review of Film and Television Studies and in the edited collections Screening the Gothic in Australia and New Zealand (2022) and Australian Genre Film (2021). She is the co-author of Monstrous Possibilities: The Female Monster in 21st Century Screen Horror (2022) and author of A Different Tune: Popular Music and Masculinity in Action (2015). Stephanie Green is Adjunct Senior Lecturer at Griffith University, Australia. She co-edited Hospitality, Rape and Consent in Vampire Popular Culture (2017) with Agnieszka Stasiewicz-Bienkowska and David Baker and co-produced several special issues. Her most research publications include, ‘Violence and the Gothic New Woman in Penny Dreadful, FULGOR 6.3 (2021) and ‘Playing at Being a Superhero’, Imagining the Impossible 1.1 (2022).

• AcknowledgementsList of Editors and Contributors1. Introduction: History, Historiography and Horror in the Twenty-first CenturyAmanda Howell (Griffith University, Australia) and Stephanie Green (Griffith University, Australia)Part 1: Spectral Encounters and Haunted Histories2. Ghosts, Vampires and Sacrilege in Warwick Thornton’s The Darkside, Firebite and The New BoyFelicity Collins (La Trobe University, University)3. Undead Heritage: Environmental Trauma and Curses that Never Die in Takashi Shimizu’s ‘Village’ TrilogySimon Bacon (Independent Scholar, Poland)4. Deferred Demons: Diasporizing the Haunted Home in Babak Anvari’s Under the ShadowDavid Ellison (Griffith University, Australia) and Zach Karpinellison (Australian National University)Part 2: Found Footage Horrors5. 'It’s Too Late for All of Us': Ritual, Repression and the Historical Imagination in Noroi: The Curse Jeremy Kingston (Griffith University, Australia)6. Congruent Apprehensions of History in Irish Horror Cinema Stephen Joyce (Aarhus University, Denmark)Part 3: History and Horror in Televisual Storyworlds 7. Lace Collars and Cowboy Cravats: Gothic Time-travelling with Penny Dreadful and The Nevers Stephanie Green (Griffith University, Australia)8. Pretty Ballads, Bastard Truths: History, Memory and the Past in The Witcher Agnieszka Stasiewicz-Bienkowska (Jagiellonian University, Poland)9. ‘Brings Back Some Memories’: Spectres of History in Twin Peaks: The Return Martin Fradley (University of Aberdeen and University of Manchester, UK) and John A. Riley (Solbridge International School of Business, South Korea)Part 4: Female Monsters and Revolting Women10. ‘We’re Americans’: Remembering the ‘Other America’ in Jordan Peele’s Us Amanda Howell (Griffith University, Australia)11. ‘Cut Them Up’: Lily Frankenstein, Valerie Solanas and the Reanimation of Radical Feminism in Penny Dreadful Anthea Taylor (University of Sydney, Australia)Part 5: Engaging the Past through Body Horror12. ‘Laden with Human Flesh’: Dying Breed and Australia’s Engagement with its Convict Past Clare Burnett (Griffith University, Australia)13. Killing Private Zombie: Overlord and the Twenty-first Century Military Horror FilmBrian E. Crim (University of Lynchburg, USA)14. Post-socialist Body Horror(s): On Exhaustion and Social Death in The Life and Death of a Porno Gang and A Serbian FilmAndrija Filipovic (Singidunum University, Serbia)Index

This timely collection considers the uneasy but productive relationship between genres of horror and history. The essays throughout consider multiple ways that horror might shape historical awareness and popular understanding of the past. Horror narratives are means for a society to engage with deep trauma, or to express ongoing pain and suffering as related to historical events. From Zombies to witches, across TV and film, and from the USA to Japan to Serbia, these thoughtful interventions allow us to understand the multiple and complex ways that horror tropes create, challenge, and interrogate historical narratives and authority.

Amanda Howell is Senior Lecturer in Screen Studies at Griffith University, Australia. Her most recent publications appear in Continuum and The New Review of Film and Television Studies and in the edited collections Screening the Gothic in Australia and New Zealand (2022) and Australian Genre Film (2021). She is the co-author of Monstrous Possibilities: The Female Monster in 21st Century Screen Horror (2022) and author of A Different Tune: Popular Music and Masculinity in Action (2015). Stephanie Green is Adjunct Senior Lecturer at Griffith University, Australia. She co-edited Hospitality, Rape and Consent in Vampire Popular Culture (2017) with Agnieszka Stasiewicz-Bienkowska and David Baker and co-produced several special issues. Her most research publications include, ‘Violence and the Gothic New Woman in Penny Dreadful, FULGOR 6.3 (2021) and ‘Playing at Being a Superhero’, Imagining the Impossible 1.1 (2022).

• AcknowledgementsList of Editors and Contributors1. Introduction: History, Historiography and Horror in the Twenty-first CenturyAmanda Howell (Griffith University, Australia) and Stephanie Green (Griffith University, Australia)Part 1: Spectral Encounters and Haunted Histories2. Ghosts, Vampires and Sacrilege in Warwick Thornton’s The Darkside, Firebite and The New BoyFelicity Collins (La Trobe University, University)3. Undead Heritage: Environmental Trauma and Curses that Never Die in Takashi Shimizu’s ‘Village’ TrilogySimon Bacon (Independent Scholar, Poland)4. Deferred Demons: Diasporizing the Haunted Home in Babak Anvari’s Under the ShadowDavid Ellison (Griffith University, Australia) and Zach Karpinellison (Australian National University)Part 2: Found Footage Horrors5. 'It’s Too Late for All of Us': Ritual, Repression and the Historical Imagination in Noroi: The Curse Jeremy Kingston (Griffith University, Australia)6. Congruent Apprehensions of History in Irish Horror Cinema Stephen Joyce (Aarhus University, Denmark)Part 3: History and Horror in Televisual Storyworlds 7. Lace Collars and Cowboy Cravats: Gothic Time-travelling with Penny Dreadful and The Nevers Stephanie Green (Griffith University, Australia)8. Pretty Ballads, Bastard Truths: History, Memory and the Past in The Witcher Agnieszka Stasiewicz-Bienkowska (Jagiellonian University, Poland)9. ‘Brings Back Some Memories’: Spectres of History in Twin Peaks: The Return Martin Fradley (University of Aberdeen and University of Manchester, UK) and John A. Riley (Solbridge International School of Business, South Korea)Part 4: Female Monsters and Revolting Women10. ‘We’re Americans’: Remembering the ‘Other America’ in Jordan Peele’s Us Amanda Howell (Griffith University, Australia)11. ‘Cut Them Up’: Lily Frankenstein, Valerie Solanas and the Reanimation of Radical Feminism in Penny Dreadful Anthea Taylor (University of Sydney, Australia)Part 5: Engaging the Past through Body Horror12. ‘Laden with Human Flesh’: Dying Breed and Australia’s Engagement with its Convict Past Clare Burnett (Griffith University, Australia)13. Killing Private Zombie: Overlord and the Twenty-first Century Military Horror FilmBrian E. Crim (University of Lynchburg, USA)14. Post-socialist Body Horror(s): On Exhaustion and Social Death in The Life and Death of a Porno Gang and A Serbian FilmAndrija Filipovic (Singidunum University, Serbia)Index

This timely collection considers the uneasy but productive relationship between genres of horror and history. The essays throughout consider multiple ways that horror might shape historical awareness and popular understanding of the past. Horror narratives are means for a society to engage with deep trauma, or to express ongoing pain and suffering as related to historical events. From Zombies to witches, across TV and film, and from the USA to Japan to Serbia, these thoughtful interventions allow us to understand the multiple and complex ways that horror tropes create, challenge, and interrogate historical narratives and authority.

Amanda Howell is Senior Lecturer in Screen Studies at Griffith University, Australia. Her most recent publications appear in Continuum and The New Review of Film and Television Studies and in the edited collections Screening the Gothic in Australia and New Zealand (2022) and Australian Genre Film (2021). She is the co-author of Monstrous Possibilities: The Female Monster in 21st Century Screen Horror (2022) and author of A Different Tune: Popular Music and Masculinity in Action (2015). Stephanie Green is Adjunct Senior Lecturer at Griffith University, Australia. She co-edited Hospitality, Rape and Consent in Vampire Popular Culture (2017) with Agnieszka Stasiewicz-Bienkowska and David Baker and co-produced several special issues. Her most research publications include, ‘Violence and the Gothic New Woman in Penny Dreadful, FULGOR 6.3 (2021) and ‘Playing at Being a Superhero’, Imagining the Impossible 1.1 (2022).

• AcknowledgementsList of Editors and Contributors1. Introduction: History, Historiography and Horror in the Twenty-first CenturyAmanda Howell (Griffith University, Australia) and Stephanie Green (Griffith University, Australia)Part 1: Spectral Encounters and Haunted Histories2. Ghosts, Vampires and Sacrilege in Warwick Thornton’s The Darkside, Firebite and The New BoyFelicity Collins (La Trobe University, University)3. Undead Heritage: Environmental Trauma and Curses that Never Die in Takashi Shimizu’s ‘Village’ TrilogySimon Bacon (Independent Scholar, Poland)4. Deferred Demons: Diasporizing the Haunted Home in Babak Anvari’s Under the ShadowDavid Ellison (Griffith University, Australia) and Zach Karpinellison (Australian National University)Part 2: Found Footage Horrors5. 'It’s Too Late for All of Us': Ritual, Repression and the Historical Imagination in Noroi: The Curse Jeremy Kingston (Griffith University, Australia)6. Congruent Apprehensions of History in Irish Horror Cinema Stephen Joyce (Aarhus University, Denmark)Part 3: History and Horror in Televisual Storyworlds 7. Lace Collars and Cowboy Cravats: Gothic Time-travelling with Penny Dreadful and The Nevers Stephanie Green (Griffith University, Australia)8. Pretty Ballads, Bastard Truths: History, Memory and the Past in The Witcher Agnieszka Stasiewicz-Bienkowska (Jagiellonian University, Poland)9. ‘Brings Back Some Memories’: Spectres of History in Twin Peaks: The Return Martin Fradley (University of Aberdeen and University of Manchester, UK) and John A. Riley (Solbridge International School of Business, South Korea)Part 4: Female Monsters and Revolting Women10. ‘We’re Americans’: Remembering the ‘Other America’ in Jordan Peele’s Us Amanda Howell (Griffith University, Australia)11. ‘Cut Them Up’: Lily Frankenstein, Valerie Solanas and the Reanimation of Radical Feminism in Penny Dreadful Anthea Taylor (University of Sydney, Australia)Part 5: Engaging the Past through Body Horror12. ‘Laden with Human Flesh’: Dying Breed and Australia’s Engagement with its Convict Past Clare Burnett (Griffith University, Australia)13. Killing Private Zombie: Overlord and the Twenty-first Century Military Horror FilmBrian E. Crim (University of Lynchburg, USA)14. Post-socialist Body Horror(s): On Exhaustion and Social Death in The Life and Death of a Porno Gang and A Serbian FilmAndrija Filipovic (Singidunum University, Serbia)Index

This timely collection considers the uneasy but productive relationship between genres of horror and history. The essays throughout consider multiple ways that horror might shape historical awareness and popular understanding of the past. Horror narratives are means for a society to engage with deep trauma, or to express ongoing pain and suffering as related to historical events. From Zombies to witches, across TV and film, and from the USA to Japan to Serbia, these thoughtful interventions allow us to understand the multiple and complex ways that horror tropes create, challenge, and interrogate historical narratives and authority.