Gina Freitag

PROJECTS


Anatomy of a Scream


Anatomy of a Scream is a female-run, queer-positive horror entertainment and lifestyle site offering news, reviews, analyses, and humour with a feminist perspective. Follow on twitter: @aoas_xx!

I’ve recently joined the squad as a contributing writer, so watch for thoughts and musings on the horror realm.

Here’s a few to start you off:

 


The Black Museum


The Black Museum is a limited engagement of horror lectures and screenings based out of Toronto, Canada. Co-curated by Rue Morgue Magazine‘s Executive Editor, Andrea Subissati, and Canuxploitation‘s Paul Corupe, the series typically hosts events at the Royal Cinema in Toronto’s West end. As part of the promotional campaign, I contributed to the site’s blog, providing engaging posts on themes relating to upcoming events.

March 2018
In anticipation of the Masterclass with Director Gary Sherman (Poltergeist 3):
Let’s Face It: A Reflection on the Multitude of Mirrors and Mayhem in Horror
The High Stakes of High-Rise Horror Stories

December 2017
A 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)

 


FPA Voices


Carleton University’s Faculty of Public Affairs publishes a digital journal to give voice to its community members: staff, faculty, students and alumni. Each issue includes articles, interviews, and book reviews. I was stirred to submit an item after reading an excellent novel by an Ottawa-based author, Iain Reid (his novel has since been optioned for a big screen adaptation by writer-director, Charlie Kaufman). Here’s my piece highlighting the work:

Book Review | Iain Reid’s I’m Thinking of Ending Things

Issue – November/December, 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. The official premiere took place in Fall 2016 at the historic Mayfair Theatre in Ottawa, Canada, screening for a sold-out audience. The anthology film includes segments created by local filmmakers, such as the short I wrote, “Time of Need”, directed by James Campbell. This annual series is ongoing, with a third installment recently completed in Fall 2017. For more information, visit the film’s home site or IMDB page.

 


The Canadian Horror Film: Terror of the Soul


Edited by Gina Freitag and André Loiselle
University of Toronto Press © 2015

Featuring chapters on PontypoolGinger 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.

This book is available for purchase online.

Read more 

 


Cellar Door Film Festival (CDFF)



A 3-day grass-roots independent film festival that showcased the strange and unusual: horror, sci-fi, fantasy, and beyond. Based in Ottawa, Canada, this festival presented feature-length and short films from around the world, with an added spotlight given to locals working in genre film. As founder of the the festival, I led  a team of dedicated volunteers with the support of community sponsors to bring about two seasons of the genre film showcase. For a detailed look at the programming for each season, please select one of the following links:

2014 Programme
2015 Programme


“Tales of Terror in Québec Popular Cinema: The Rise of the French Language Horror Film since 2000”


Featured 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.

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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.

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