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Violent Women in Contemporary Cinema explores the representation of homicidal women in six contemporary films: Antichrist (Lars von Trier, 2009), Trouble Every Day (Claire Denis, 2001), Baise-moi (Coralie Thinh Thi and Virginie Despentes, 2000), Heavenly Creatures (Peter Jackson, 1994), Monster (Patty Jenkins, 2003) and The Reader (Stephen Daldry, 2008). Violent women in cinema pose an exciting challenge to viewers—when women kill, they overturn cultural ideas of 'typical' feminine behaviour. Janice Loreck explores how cinema creatively depicts the violent woman in response to this challenge. Departing from earlier studies that focus on popular and exploitation cinema, the book takes a unique focus on violent women in art films and other critically-distinguished forms. It explores the appeal that the violent woman holds for spectators within this viewing context. Furthermore, the book also examines how cinema responds to the cultural construction of the violent woman as a conundrum and enigma.

Women in motion pictures --- Violence in motion pictures --- Film --- Music, Dance, Drama & Film --- Women in motion pictures. --- Violence in motion pictures. --- Violence in moving-pictures --- Social sciences. --- Motion pictures --- Arts. --- Sociology. --- Social structure. --- Social inequality. --- Community psychology. --- Environmental psychology. --- Sex (Psychology). --- Gender expression. --- Gender identity. --- Social Sciences. --- Gender Studies. --- Community and Environmental Psychology. --- Directing. --- Social Structure, Social Inequality. --- Sociology, general. --- Sex identity (Gender identity) --- Sexual identity (Gender identity) --- Identity (Psychology) --- Sex (Psychology) --- Queer theory --- Expression, Gender --- Sex role --- Psychology, Sexual --- Sex --- Sexual behavior, Psychology of --- Sexual psychology --- Sensuality --- Cognitive ergonomics --- Ecological psychology --- Ecopsychology --- Ecotherapy --- Environmental quality --- Environmental social sciences --- Human factors science --- Psychoeology --- Psychology --- Psychotherapy --- Ecological Systems Theory --- Psychology, Applied --- Social psychology --- Egalitarianism --- Inequality --- Social equality --- Social inequality --- Political science --- Sociology --- Democracy --- Liberty --- Organization, Social --- Social organization --- Anthropology --- Social institutions --- Social theory --- Social sciences --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Behavioral sciences --- Human sciences --- Sciences, Social --- Social science --- Social studies --- Civilization --- Production and direction. --- Psychological aspects --- Production and direction --- Direction --- Applied psychology. --- Motion pictures-Production and d. --- Applied psychology --- Psychagogy --- Psychology, Practical --- Social psychotechnics --- Motion pictures—Production and direction. --- Arts, Primitive --- Equality.

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Winner of the the 2021 Best Edited Collection Award from BAFTSS ​Finalist for the 2020 Bram Stoker Award® for Superior Achievement in Non-Fiction Runner-Up for Book of the Year in the 19th Annual Rondo Halton Classic Horror Awards​ “But women were never out there making horror films, that’s why they are not written about – you can’t include what doesn’t exist.” “Women are just not that interested in making horror films.” This is what you get when you are a woman working in horror, whether as a writer, academic, festival programmer, or filmmaker. These assumptions are based on decades of flawed scholarly, critical, and industrial thinking about the genre. Women Make Horror sets right these misconceptions. Women have always made horror. They have always been an audience for the genre, and today, as this book reveals, women academics, critics, and filmmakers alike remain committed to a film genre that offers almost unlimited opportunities for exploring and deconstructing social and cultural constructions of gender, femininity, sexuality, and the body. Women Make Horror explores narrative and experimental cinema; short, anthology, and feature filmmaking; and offers case studies of North American, Latin American, European, East Asian, and Australian filmmakers, films, and festivals. With this book we can transform how we think about women filmmakers and genre.

Horror films --- History and criticism. --- writer, academic, festival programmer, filmmaker, academy, filmmakers, industry gatekeepers, festival programmers, fans, Film, Media Studies, Communications, Women's Studies, Gender Studies, Cultural Studies, Video, History, Criticism, Arts, Genres, Horror, Social Science, women academics, North American, Latin American, European, East Asian, Australia, festivals, gender, femininity, sexuality, body, Alison Peirse.