Horror Lex®

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Horror Lex® (https://horrorlex.com) is the home of academic horror. Explore our huge research database of scholarly, thoughtful writings on horror films. #horror

The cover of the book "The Postmodern Slasher Film" featuring a large photo of Ghostface from the SCREAM series.
The cover of the book "The Evolution of Horror: A Terrifying Guide to Horror Movie History" with a red and black stylized drawing showing various monsters walking along a path, in silhouette.
On the left, a screenshot of the online article "When Platonic Love Turns Into Body Horror: Exploring Michael Shanks’s Together (2025)" with an image from the film TOGETHER in which two human bodies are fusing.
On the left, a screenshot of the article "The Spectre of Film Music: A Hauntological Study of the Vaporwave Aesthetic in The Neon Demon (2016)" in plain text.
On the left, the cover of the book "Contemporary Iranian Horror Cinema" with a generic background photo of a night sky and a shadowy tree.
On the left, the cover of issue 11.1 of Mise-en-Scene film journal showing an image from the Turkish horror film BASKIN in which hands of people trapped in a blue-tinged hell grasp the air.
On the left, the cover of Supernatural Studies volume 11.2 featuring an image of a family sitting in their living room, bathed from the glow of the TV set, looking disturbed. The special issue is called "It Is In Our House Now": Twin Peaks The Return online conference.
On the left, the cover of the book "Strange Illusions: The Films of Edgar G. Ulmer" showing an image of a man and a woman in shadow, with a psychedelic-colored background.
The cover of the book "Horror and Indigeneity: Literature, Film, and Television" featuring an image from the film BLOOD QUANTUM in which a masked Native American man confronts a screeching zombie in military gear.
On the left, a screenshot of the article "The Limits of Psychedelic Transformation: Ben Wheatley's A Field in England (2013)" in plain text.
On the left, the cover of the book "Blood Money: A History of the First Teen Slasher Film Cycle," with a cartoon-ish silhouette of a hatchet-wielding killer stalking a teen girl outside a movie theater.
On the left, the top part of the cover of the book "Grotesque," in black with plain text. On the right, an image from THE HUMAN CENTIPEDE in which a mad scientist in a white lab coat stands in front of a projection showing a drawing of the titular abomination.
The cover of the book "Nollywood and Popular Religion: Productions of Prosperity, Gender, and the Supernatural in Nigerian Cinema" showing an image of an empty movie theater with the sign of the cross shadowed onto the big screen.
On the left, a screenshot of the article "Monsters, viruses, and a zombie parliament: Taiwan's trilogy of national calamity in the New Cold War" in plain text.
On the left, a screenshot of the article "Slashing the Sisterhood? Women's Authorship and the Postfeminist Politics of Early Teen Slasher" in plain text.
On the left, the cover of the book "Corporate Harms: A Horror Story" with a generic geometric-patterned background in olive green.
On the left, a screenshot of the article '"Man destroys god, man creates dinosaurs": Escaping from freedom in the Jurassic Park franchise" in plain text.
On the left, a screenshot of the article "Allegorical representation of Kuntilanak in Rizal Mantovani's films" in plain text.
On the left, the cover of the book "Demon Possession and Sexual Violence in Post-Recession American Horror Cinema" featuring a surrealist drawing of a cloaked figure in a space-age background with a demon popping his head up from the ground.
The cover of the book "Concerning Dust and Ashes: Affects of Horror in the Hebrew Bible" featuring a drawing of a seemingly Biblical scene in which terrified people on the ground are menaced by a god-like creature in the sky.
On the left, the cover of the book "Fashioning Hitchcock: Stories Behind the Costumes from The Lodger to Marnie" showing several characters from Hitchcock movies.
The covers of the three books mentioned in the post, one showing a woman with a skull head, one showing an old drawing of hag-witches, and one showing a man sitting in the top of an old-fashioned ink pen.
On the left, a screenshot of the article "Rebooting Death: Wes Craven's Scream 4 as Testament Film" in plain text.
On the left, the cover of the latest issue of Black Camera journal, edged in dark green and with a collage of air mail envelopes and other pieces of old mail, with phrases and handwriting strewn throughout, like "Unite the Film Industry."
On the left, a screenshot of the article "Final girl, the 'ideal victim', and Goldilocks: Challenging the exceptional criteria for victim status and survival in a gender hierarchy" in plain text.
On the left, a screenshot of the online table of contents for Cinej Cinema Journal issue 14.1 with an image of a film reel in the upper left corner.
On the left, the cover of the book "Times of Horror, Magic & the Reproductive Body in Popular Culture" in plain text over an abstract geometric background.
The cover of the book "Taiwanese Horror Cinema in the 21st Century: Spectral Narratives and Screen Culture" featuring an image of a huge shrine decked out in gold and colorful decorations, and set into a bed of red rocks.
On the left, the cover of Horror Studies journal showing a woman in white walking into a dark forest.
On the left, a screenshot of the article “And the Wisdom to Know the Difference: Intimacies in Obsession (2026)" on the Horror Homeroom website.
The cover of the book 100 Cult Films: The Sequel" featuring a large photo of a young, sneering Asian man with tiny blood spatters on his face (from the Korean film OLDBOY).
The cover of the book "Black Image Making & Whiteness" with a full-page image from GET OUT (2017) in which a young Black man and young White woman sit on a couch, looking concerned and embracing uncomfortably.
On the left, the cover of the book "The Horror in Hindi Cinema: Between the Mythic and the Monstrous," with a generic multicolored, geometric background pattern.
On the left, a screenshot of the article titled "On Reading the Start of Trump 2.0 as Horror Fiction" in plain text.
On the left, a screenshot of the article titled "'Not your vampire': Radu jude's dracula (2025) and the glitch of AI adaptation—a review" in plain text.
On the left, a screenshot of the article "Deliverance at the Table: Culinary Symbolism and Estherian Transcendence over Death in Contemporary Horror Film" in plain text.
On the left, the cover of the book "1956: A Year of Wonder in Science Fiction & Beyond" with a cartoon drawing of a robot walking on the surface of a planet.
On the left, a screenshot of the article "Finding Horror on Early Network Television: Lights Out and the Business of Genre" in plain text.
On the left, a screenshot of the article "The Tyranny of Things: Gothic Thing Theory and Consumerism in In Fabric (2019)" in plain text.
On the left, a photo of author Koji Suzuki at an event from 2025, wearing a grey blazer and jeans, smiling warmly.
On the left, a screenshot of the article "The Return of the Repressed: The Subprime Haunted House," in plain text.
On the left, a screenshot of the article "The Dracula and the Blacula (1972) Cultural Revolution" in plain text.
The logo for Horror Lex, featuring a silhouette of a howling werewolf wearing spectacles, with a big yellow star saying TAG FEST in it.
The cover of the book "Horror Films of the 2010s," featuring an image of slasher Michael Meyers from the 2010s reboot films of the HALLOWEEN franchise, brandishing his trademark butcher knife.
The cover of the book "Horror House Film: Possession, Obsession, Domination, Masculinity" featuring a photo of a suburban brick home in photo-negative style, making it look terrifying.
On the left, a screenshot of the article "Translating Malevolence in Popular Culture: From Jinn to Demons in Cross-Cultural Portrayal of Evil Entities" in plain text.
On the left, the cover of the latest issue of KINO film journal, featuring a surreal drawing of a large disc shape decorated in circular fashion with many coiled green snakes.
On the left, a screenshot of the article "Mother is God in the eyes of a child: mariology, revelation, and mothers in Silent Hill" in plain text.
On the left, the cover of the latest issue of journal Somatechnics with a large close-up photo of a veiny, brown, crumbling leaf.
The cover of the book "Under the Gun: Criminology Goes Back to the Movies" featuring a filmstrip with the same image from THE SILENCE OF THE LAMBS, of wide-eyed Agent Clarice Starling aiming her gun straight ahead at shoulder height.
On the left, the cover of the book "No More Chainsaws: Feminist Criticism and the New Wave of Women's Horror Cinema" with the title in plain text and big letters.
The cover of the book "Archival Anxiety in Documentary and Mockumentary Horror" featuring a blurry photo of a movie cameraman as seen through a large spider web.
The cover of the book "Becoming Alien: The Beginning and End of Evil in Science Fiction’s Most Idiosyncratic Film Franchise," in green and white, featuring an image of the dipping-bird toy that has been seen in most ALIEN films to date.
The cover of the book "King Kong: The History of a Movie Icon" with a large image from the 2005 version of KING KONG in which the great ape holds a blonde woman in his giant paw and they look thoughtfully at each other.
On the left, the cover of the book "The US-Mexico Borderlands in Contemporary Horror" with a photo of a border fence in the desert, everything looking dry and desolate.
On the left, the cover of the latest issue of Studies in the Fantastic, with a surrealist collage of images of a man, a baby, and foliage.
On the left, a screenshot of the article "They only come out at night: Nocturnal horror, morbidity and fascism as fashion" in plain text.
The cover of the book "Children of The Wicker Man: The True Story Behind One of the Most Remarkable Films Ever Made," with a primitive sketch of the famous final scene in which a huge human-shaped figure looms over the countryside.