Introduction
Part I. National Identity: Haunting the Homeland
Chapter One: Ringing Home, Missed Calls, and Unbroken Land-lines: Domestication of, and Miscommunication in, K- and J- Horror
Rea Amit
Chapter Two: Redefining the Heimat: Austrian Horror Cinema and the “Home” in a Global Age
Michael Fuchs
Chapter Three: Korean National Trauma and the Myth of Hypermasculinity in The Wailing (2016)
Luisa Koo
Chapter Four: The Witch, the Wolf, and the Monster: Monstrous Bodies and Empire in Penny Dreadful
Allyson Marino
Part II. Market Forces and Their Monsters
Chapter Five: Recession Horror: The Haunted Housing Crisis in Contemporary Fiction
Lindsey Michael Banco
Chapter Six: Classism and Horror in the Seventies: The Rural Dweller as a Monster
Erika Tiburcio Moreno
Chapter Seven: All Against All: Dystopia, Dark Forces, and Hobbesian Anarchy in the Purge Films
A. Bowdoin Van Riper
Chapter Eight: Motor City Gothic: White Youth and Economic Anxiety in It Follows and Don’t Breathe
Russell Meeuf and Benjamin James
Part III. Ideology: You Just Have to Believe
Chapter Nine: Gothic Neoliberalism in 1980s British Horror Cinema
Fernando Gabriel Pagnoni Berns, Juan Juvé, and Emiliano Aguilar
Chapter Ten: Infringing on Cycles of Oppression: Artisanal Bricolage and Synthesis in Mumblegore
Brandon Niezgoda
Chapter Eleven: Faith as Confinement: Alejandro Amenábar’s The Others (2004)
Maria Gil Poisa
Part IV. History Never Dies
Chapter Twelve: The Pursuit of Certainty: Legends and Local Knowledge in Candyman
Cynthia J. Miller
Chapter Thirteen: “Nothing Is What It Seems”: Montage and Misread Histories in Nicolas Roeg’s Don’t Look Now (1973)
Thomas Prasch
Chapter Fourteen: “Tens of Thousands of Men Died Here”: Desire, Revenge, and Memories of War in Edgar G. Ulmer’s The Black Cat
James J. Ward
Chapter Fifteen: Peril, Imprisonment, and the Power of Place in Jordan Peele’s Get Out
Michael C. Reiff
Part V. The Horrors of Place
Chapter Sixteen: The Hovel Condemned: The Environmental Psychology of Place in Horror
Jacqueline Morrill
Chapter Seventeen: Coming Home to Horror: Stephen King’s Derry and Castle Rock
Alissa Burger
Chapter Eighteen: It Follows and the Uncertainties of the Middle Class
Katherine Lizza
Chapter Nineteen: “We’re all in our private traps”: Reconfiguring Suburbia’s Protective Borders in Psycho (1960)
Kevin Thomas McKenna