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It’s October so that means that Syfy will be giving us some horror movies this month. On Halloween night, a sorority house is overrun with ghosts, while a vengeful housemother goes on a killing spree.
We’ll be discussing this movie on an upcoming episode of our Saturday B Movie Reel podcast. Special thanks to Kelly from the awesome Antipodal Arapaima blog for finding the movie poster for this one. As previously noted here in a discussion based upon an article in The Chronicle of Higher Education, there is a growing body of academic books exploring horror films.
Creatively spent and politically irrelevant, the American horror film is a mere ghost of its former self-or so goes the old saw from fans and scholars alike. Individual essays profile the work of up-and-coming director Alexandre Aja and reassess William Malone's muchmaligned Feardotcom in the light of the torture debate at the end of President George W. Essays deliberate on the marketing of nostalgia and its concomitant aesthetic, and the curiously schizophrenic perspective of fans who happen to be scholars as well.
TheoFantastique: James, I appreciate your willingness to discuss your chapter from American Horror. American Mary is about a med student who gets caught up in the seedy world of illegal body modifications.


We also have a Saturday B Movie Reel Facebook fan page if you want to keep up on all our activities. One of those books is American Horror Film: The Genre at the Turn of the Millennium, edited by Steffen Hantke (University Press of Mississippi, 2010). Taking on this undeserved reputation, the contributors to this collection provide a comprehensive look at a decade of cinematic production, covering a wide variety of material from the last ten years with a clear critical eye. Taken together, the contributors to this collection make a compelling case that American horror cinema is as vital, creative, and thought-provoking as it ever was. Kendrick is an assistant professor in the Film and Digital Media Division of the Department of Communication Studies at Baylor University. Zombies is a head-blasting, zombie stomping good time about a bunch of bumbling criminals who get stuck in an undead apocalypse who are later joined by their granddad and his geriatric counterparts – all armed to the teeth.
We are talking extreme body mods here, people – like turning people into Siamese twins and such.
He is the author of two books, has contributed chapters to others, and has had articles published in peer-reviewed journals. How did you come to have the personal interest to focus on the spiritual in horror films, and how are you defining "spiritual" for the purposes of your discussion? I personally think it’s an absolute blast, one that reminds us of the brilliant quality Edgar Wright achieved with Shaun of the Dead, but lacks necessary focus that would have actually made the two films equal.


It’s walkers versus those who use walkers in a hilarious fight to the death, bringing tight British wit and home turf mentality into an explosion of blood and guts.
The grey-haired generation just refuse to go down without a fight – especially when their fearless leader is played by Alan Ford (Snatch.)!
I LOVE Excision (which Matt and I differ on slightly), and American Mary feels like the next step in that story to me.
It already dropped in Canada, but as you guys know, I am not legally allowed to enter that country anymore, so just have to wait until it drops on our shores in 2013. Some essays examine specific subgenres-from the teenage horror flick to the serial killer film and the spiritual horror film-as well as the continuing relevance of classic directors such as George A. Check this flick out when it’s released stateside through Shout Factory!, although the actual date is still unknown.




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