The Black Museum – Blog
December 2017 | Toronto | Canada
Final Girl Profile Series:
– Laurie Strode, HALLOWEEN (1978)
– Jess Bradford, BLACK CHRISTMAS (1974)
– Ellen Ripley, ALIEN SERIES
– Anna, MARTYRS (2008)
– Mia Allen, EVIL DEAD (2013)
Eve Film Festival (EFF)
Active 2017 – Present | Ottawa | Canada
A feminist event that showcases and supports work by women-identifying and genderqueer directors in film. It screens all genres with the idea that diversity in styles and voices is what inspires filmmaking to be a perpetually evolving form. 2nd Edition coming June 2018.
Iain Reid’s I’m Thinking of Ending Things
Published in FPA Voices
Nov 30, 2016: 12
Monster Pool: Chapter Two
1h 37min | Horror | 2016 | Canada
A feature-length horror anthology film with Vampires, Ghosts, Demons, Death, Succubi, Mind Control, The Monster Under Your Bed, Cults, Zombies and Serial Killers.
Includes “Time of Need”,
directed by James Campbell, written by Gina Freitag
The Canadian Horror Film: Terror of the Soul
Edited by Gina Freitag and André Loiselle
University of Toronto Press © 2015
Featuring chapters on Pontypool, Ginger Snaps, 1970s slasher films, Quebec horror, and the work of David Cronenberg, among many others, The Canadian Horror Film unearths the terrors hidden in the recesses of the Canadian psyche. It examines the highlights of more than a century of Canadian horror filmmaking and includes an extensive filmography to guide both scholars and enthusiasts alike through this treacherous terrain.
Cellar Door Film Festival (CDFF)
Active 2013 – 2015 | Ottawa | Canada
A 3-day grass-roots independent film festival that showcased the strange and unusual: horror, sci-fi, fantasy, and beyond.
“Tales of Terror in Québec Popular Cinema: The Rise of the French Language Horror Film since 2000”
in American Review of Canadian Studies, 2013 Vol. 43, No. 2, 190–203.
Before the 2000s, the horror film was virtually non-existent in Canada’s Francophone film industry. Over the past decade, however, the situation has changed drastically. The recent emergence of a crop of successful French-language horror films, including Éric Tessier’s Sur le seuil (2003) and 5150 Rue des Ormes (2009), Philippe Gagnon’s Le Poil de la bête (2010), Daniel Roby’s La Peau blanche (2004), Daniel Grou-Podz’s Les 7 jours du talion (2010), Robin Aubert’s Saints- Martyrs-des-Damnés (2005), Pascal Laugier’s Martyrs (2008) and Jean Beaudin’s Le Collectionneur (2002), manifests a multiplicity of important transformations in Québec cinema in particular, and Québec society in general. This article suggests that the Québec horror film bears witness simultaneously to: (1) the productive diversification of the industry in the province; (2) the rise of filmic adaptations of popular literature as a viable practice; (3) the development of a critical perspective towards the traditional themes of Québec culture; and (4) the creative potential of co-production. These aspects position the cinematic tale of terror as one of the most informative objects of analysis in contemporary Québec film studies.
Unleashing the Furious Feminine: The Violence of Gender Discourse in Canadian Horror Cinema
MA Thesis, Carleton University, Ottawa ON ©2011
Recent horror film theory largely perpetuates the rigidly structured gendered readings popularized by psychoanalysis. Such ideas no longer compliment a genre whose self-awareness often challenges patriarchal expectations. This analysis of Canadian horror cinema illustrates alternative approaches to gendered readings by focusing on the Canadian imagination: wildness, horror and chaos not only break into an enclosed community, but burst forth from it. Bruce McDonald’s Pontypool (2008) illustrates the way in which not all horror films operate along strictly “gendered” lines. Jaume Collet-Serra’s Orphan (2009) indicates that even those horror films which do operate along “gendered” lines are not always structured around a “heterosexual divide”. Paul Fox’s The Dark Hours (2005) suggests those “gendered” horror films that are structured around the “heterosexual divide” can re-imagine viewership as both masochistic and sadistic. Ultimately, this study of female representations and female viewership endeavours to demonstrate the complexity and frequent misrepresentation of these issues.