Winner of the the 2021 Best Edited Collection Award from BAFTSSWinner of the 2021 British Fantasy Award in Best Non-Fiction??Finalist for the 2020 Bram Stoker Award for Superior Achievement in Non-FictionRunner-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.

Winner of the the 2021 Best Edited Collection Award from BAFTSSWinner of the 2021 British Fantasy Award in Best Non-Fiction??Finalist for the 2020 Bram Stoker Award for Superior Achievement in Non-FictionRunner-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.