Hans Staats
Hans Staats is lecturer in film and media studies at the Cedars International Academy. He has published in In Media Res, CineAction, Offscreen, the Irish Journal of Gothic and Horror Studies, Journal of the Fantastic in the Arts, and various edited collections, including War Gothic in Literature and Culture (Routledge, 2015), What’s Eating You?: Food and Horror on Screen (Bloomsbury, 2017), Cruel Children in Popular Texts and Cultures (Palgrave, 2018) and Elder Horror: Essays on Film’s Frightening Images of Aging (McFarland, 2019).
Supervisors: Krin Gabbard (Co-Advisor), E. Ann Kaplan (Co-Advisor), Jacqueline Reich (Chair), Christopher Sharrett, and Adam Lowenstein
Supervisors: Krin Gabbard (Co-Advisor), E. Ann Kaplan (Co-Advisor), Jacqueline Reich (Chair), Christopher Sharrett, and Adam Lowenstein
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Article by Hans Staats
Marking the twenty-year anniversary of “Scary Women,” I examine the representational status of girlhood within the modern American horror film during the years 1956-1982. Throughout the period of transition from classic to modern phases (1955-1961), the performance of girlhood illuminates a hauntingly perennial cinematic preoccupation with the normal and pathological. Building upon and expanding this argument, I offer a comparative analysis of the Baby Bitch as foundational to the form of the queer child, the performance of identity and girlhood in Hollywood cinema, and the persistent association of electronic media with paranormal or spiritual phenomena.
KEYWORDS: Queer child, media studies, horror film
Book Reviews by Hans Staats
Web by Hans Staats
Marking the twenty-year anniversary of “Scary Women,” I examine the representational status of girlhood within the modern American horror film during the years 1956-1982. Throughout the period of transition from classic to modern phases (1955-1961), the performance of girlhood illuminates a hauntingly perennial cinematic preoccupation with the normal and pathological. Building upon and expanding this argument, I offer a comparative analysis of the Baby Bitch as foundational to the form of the queer child, the performance of identity and girlhood in Hollywood cinema, and the persistent association of electronic media with paranormal or spiritual phenomena.
KEYWORDS: Queer child, media studies, horror film