We’re so excited to share the programme for CREATURELY FEAR: ANIMALITY AND HORROR CINEMA . We have a fantastic schedule of talks over the afternoons (BST) of 21-22 July. Registration is free and open to all, and can be found at the eventbrite linked below:

New collection on the Gothic Anthropocene:

This looks amazing!.

‘Her Brains Are All Over Her Body’: Jeff VanderMeer’s Avian Weird

Thank you to all our amazing contributors and attendees for making #CreaturelyFear a success! We are really excited to translate these ideas into plans for an edited collection, and we will be in touch with contributors about submitting abstracts very soon, so watch this space!.

Lux ends our presentations on an idea from @jeffreyjcohen that speaks to the concerns of every presentation we have seen: monsters 'ask us why we have created them' #CreaturelyFear.

Lux’s comic FAMOUS MONSTERS draws on B-movie horror, zombies and the music of Misfits to examine the ways that the figure of the endling haunts our cultural representations of extinction #creaturelyfear.

Finally, we have Maria Lux with a paper entitled ‘Making Monsters: A Horror-and-Humor Based Alternative to Mainstream Extinction Stories’ 🐢 #creaturelyfear.

Purac examines the role of non-violent and silent rabbits and hares in horror cinema, which prove an unnervingly quiet and inscrutable presence amid the ambient bleats and clucks of Robert Eggers’s THE WITCH #creaturelyfear.

Next up we have Selma Purac with the paper ‘Blood-Curdling Bunny: Sound, Silence, and Horror’ 🐰 #creaturelyfear.

@abullencutting argues that ORCA deploys colour as a form of nonhuman meaning making, both mediating and translating the intelligence, complex emotional lives and suffering of its eponymous animals #creaturelyfear.

The final panel of the day will be The Audio Visual Animal, starting with Ashley Bullen-Cutting’s paper ‘Killer Wail: Colouring Nonhuman Trauma in Orca: The Killer Whale’ 🐋 #creaturelyfear.

Brophy: RAW invites reflection on the exploitation of animals in social and cultural ritual, as well as in the horror genre itself. Violence towards animal bodies on film presages bloody practical effects in horror cinema #creaturelyfear.

Finally, we have Gregory Brophy’s paper: ‘Made in the Harming: Animal Rites in Julia Ducournau’s Raw’ #creaturelyfear.

Randle: X questions what constitutes wasted flesh with reference to all-time high beef production in the US during the 1970s, with intertextual conversation with Tobe Hooper’s THE TEXAS CHAINSAW MASSACRE #creaturelyfear.

Next we have Ryan Randle speaking on ‘Meat, Pornos, and Slasher Films: Carnal Consumption in Ti West’s X’ #creaturelyfear.

Aiello: Argento's animals are liminal denizens, viewed at an inherent distance that denies personhood—yet at the same time characters in their own right that maintain agency in giallo narratives #creaturelyfear.

Next up we have the panel Generic Transgressions, beginning with Thomas Aiello’s paper ‘Four Flies on Grey Velvet: Animals in Dario Argento and Italian Giallo Horror of the 1960s and 1970s’ 🪰🔪#creaturelyfear.

Sharma is back to discuss the Malayam action-thriller JALLIKATTU and its challenge to anthropocentric thinking and the logics of meat consumption #CreaturelyFear.

Broemmer reads ZOMBEAVERS via Carol Adams's The Sexual Politics of Meat. Despite some crude beaver-themed double entendres, the film's representations of women, beavers and hybrid-women-beavers provide an inadvertently subversive ecofeminist meat critique #CreaturelyFear.

RT @morganmushroom: See that is how you do a B movie with ecocritical implications! .Alexa Broemmer, 'Beaver Fever: Zombeavers as Ecofemini….