An interview with Mariama Diallo, director of the horror films "Hair Wolf" and "White Devil" and the feature film "Master," which premiered at the 2022 Sundance Film Festival in January, is presented. Diallo discusses the inspiration for her film "Master," the most important themes of the film, and the most challenging aspects of the story.

"This work also sheds light on the root causes of the pervasive gender inequality and allows us to tailor interventions for different cultures to combat the problems precisely and effectively."

This paper argues that works of popular culture, specifically horror films, offer valuable insights into dominant and critical perceptions of the sources of violence in ongoing armed conflicts—an issue of concern for scholars of International Relations (IR) scholars, which as yet has not received sufficient attention. Accordingly, we present a new approach that IR scholars can utilize in their analysis of works of popular culture, applying it to two recent horror films from Israel/Palestine: Cannon Fodder (2013, dir. Eitan Gafny) and Freak Out (2015, dir. Boaz Armoni).

The vampire of classic gothic fiction has long been recognized as allegory for industrial capitalism of the late 1800s – an assertion influenced by Karl Marx's apt description of capitalism as vampirish. Indeed, Dracula is a true monopolist – a rational entrepreneur who is driven to accumulate, expand, and suck the living of their toil. Accordingly, if this is the case, what does the vampire of modern economic practices and political strategies look like? This article examines how the politics of neoliberalism, economic globalization and the rise of financial capitalism are interwoven into vampire fiction of the twenty-first century focusing on Michael and Peter Spierig's 2009 sci-fi horror film Daybreakers. [ABSTRACT FROM AUTHOR]

The article reflects the views of author on about Catholic conversation about sex and gender concerns the ability to speak credibly to the non-Catholic public. Topics include Church has the canonical structures to bring women into the uppermost ranks of leadership without any alteration to our understanding of sacramental theology; and Gay men remain officially barred from seminaries by force of a document of Catholic public intellectuals and bishops routinely about gender ideology.

The article analyzes the film "Candyman," directed by Nia DaCosta and co-written by Jordan Peele and Win Rosenfield. Topics discussed include the consciousness of DaCosta while making the film as an African American director, the difference of DaCosta's film from the original 1992 cult horror film by the same name, the characters in the film, and the film's attempt to castigate its protagonist for approaching Blackness.

Horror can challenge us to do better. ''Get Out'' didn't solve discrimination or racism -- Black people are still dying in traffic stops -- but it did, at least for a couple of hours, make a lot of people see the racism that lurks beneath even the most liberal-seeming facades. And that's success. That's art.

Photos of beleaguered working-class Brits in photographer Paul Graham’s renowned book Beyond Caring inspired Censor’s palette and costumes, imbuing them with a sense of social realism. “We didn’t want to portray a colorful, pastel-y ’80s,” says Summerson. “We were trying to mirror the political atmosphere of the Thatcher era — an environment where social hysteria can ignite.”

"The article discusses the political ideas of New Horror Films in the U.S. The author thinks that the films are provocative and against the grain of the American way of life. He mentions that in these films the females are a source of disarray and madness. It mentions the films "Hereditary" directed by Ari Aster, which highlights the plight of women in a society and "The Witch," by Robert Eggers that deals with woman-as-source-of-evil."

"The article analyzes the South Korean horror film "The Wailing". Particular focus is given to the role of story of supernatural phenomena and spiritual crisis proves to be an ideal springboard for the director's skills for interweaving themes and images across different genres, ranging from religious cult, serial-killer whodunnit, blood-spewing gore to comedy and serious philosophical drama."

"HORROR HAS ALWAYS BEEN A MARGINAL GENRE, a misunderstood, even reviled vehicle dismissed as a disgusting, juvenile playpen for amateur talents. When it does become popular--such as during..."

Discusses changes in the form and structure of horror film genre affected by current social and political events. According to the author, horrors of witches and inquisition were replaced by the atom bomb and doomsday which was later on replaced by serial killers. Also it presents film criticism of several films including ''It Comes at Night'' written and directed by Trey Edward Shults, ''Hereditary'' by Ari Aster, ''The Gift'' by Joel Edgerton, and ''The Witch'' by Robert Eggers.

This essay proposes that certain cinematic conventions of the horror film are uniquely suited to bring into visibility everyday, endemic horror - a horror that many in US society refuse to see. I call this use of horror, ‘horror vérité’ or truthful horror. As a form of politically inflected horror, it has potential to perform the kind of materialist history that Walter Benjamin theorizes, in which the historical materialist ‘appropriate[es] a memory as it flashes up in a moment of danger’ in order to recast the present.

"The Moth Diaries is a study of adolescent friendship, a vampire tale, and a story of female self-harm. The sensitive subject matters Moth considers, from self-harm in suicide and anorexia to passionate female companionship, intersect and intertwine where sexuality, death, and alimentary consumption are regulated through the normative discourses influencing their representation in cinema..."

"Explores the bloody relationship between slavery and vampires."

"One of the first known 'real vampires' in the Balkan area, Jure Grando, has served as a tool for expressing fears about sexual freedom in an 18th century Balkan society constrained by its own depravity. Another, more famous figure, was Petar Blagojević, a Serbian peasant who was terrorizing the local villagers by strangling them, thus representing some of the concerns of rural communities of the time. Furthermore, Arnaut Pavle, a military hero obsessed with thoughts of suicide, the act that supposedly turned people into vampires, who after his own death becomes one of them, terrorized the village where he lived. Nevertheless, Sava Savanović is by far the most famous vampire figure in the Balkans, who is still being mentioned in literature and film alike. "

" It discusses the film "Countess Dracula" to demonstrate eating disorders viewed as a result of hegemonic expression and external pressures on the female body that cause aging. The author notes that the association between vampires and binge eaters shows the ways that transgressive acts could destroy potential self-determination."