Shadow in the Cloud, directed by Roseanne Liang and released last year, serves as both an action-packed popcorn flick while also renewing the image of the American in WWII movies.

Indie filmmakers Kevin Ponntuti and Alexandra Loreth tackle the classic story The Yellow Wallpaper by Charlotte Perkins Gilman in a feminist narrative that just misses the mark.

We Are Wolves is a riveting, nearly feral horror fiction anthology that strikes right at the heart of the trauma and toxic cultural expectations inflicted upon women.

To celebrate Women in Horror Month, we put together a list of women directors you should know.

In the second installment of our collaboration with Supernatural Studies, Laura Kemmerer spoke with Bowling Green State University adjunct instructor and author Olivia Taylor Zolciak about her research into the monstrousness of motherhood in the context of The Babadook.

A deep dive into the visuals of The Exorcism of Emily Rose reveals a haunting foreshadowing of the economic recession.

Driven by a passion to bridge the gap between academia and fandom in horror, Dr. Aalya Ahmad has spent much of her career teaching students from a variety of backgrounds about what the genre has to offer, as well as diving into the intersection of feminist theory and horror.

If Ginger’s transformation is a manifestation of her blossoming womanhood, then both Brigitte and their mother express a desire to prevent Ginger’s growing up.

In the opening of the talk, Doughty jokingly pointed out that her parents said they hadn’t really “seen the signs” of her inclination toward the morbid as she was growing up. In one instance, she mentioned finding a diary from her childhood in which the sole entry was a celebration of Halloween finally having arrived.

The four-act structure and the subsequent slide of one woman, living alone, into the relentlessly grinding maw of social expectations, culture, and the Old High German titular “witch” (Hagazussa) concept was a deeply moving joy.