ALISON PEIRSE is an associate professor in film and media at the University of Leeds, UK. She is author of After Dracula: The 1930s Horror Film and co-editor of Korean Horror Cinema.

Contents
Acknowledgements
Chapter 1. Women Make (Write, Produce, Direct, Shoot, Edit and Analyze) Horror
Alison Peirse
Chapter 2. Stephanie Rothman and Vampiric Film Histories
Alicia Kozma
Chapter 3. Inside Karen Arthur’s The Mafu Cage
Alexandra Heller-Nicholas
Chapter 4. The Secret Beyond the Door: Daria Nicolodi and Suspiria’s Multiple Authorship
Martha Shearer
Chapter 5. Personal Trauma Cinema and the Experimental Videos of Cecelia Condit and Ellen Cantor
Katia Houde
Chapter 6. Self-Reflexivity and Feminist Camp in Freddy’s Dead: The Final Nightmare
Tosha R. Taylor
Chapter 7. Why Office Killer Matters
Dahlia Schweitzer
Chapter 8. Murders and Adaptations: Gender in American Psycho
Laura Mee
Chapter 9. Gender, Genre and Authorship in Ginger Snaps
Katarzyna Paszkiewicz
Chapter 10. The Feminist Art-Horror of the New French Extremity
Maddison McGillvray
Chapter 11. Women-Made Horror in Korean Cinema
Molly Kim
Chapter 12. The Stranger With My Face International Film Festival and the Australian Female Gothic
Donna McRae
Chapter 13. Slicing Up the Boys’ Club: The Female-led Horror Anthology Film
Erin Harrington
Chapter 14. The Transnational Gaze in A Girl Walks Home Alone at Night
Lindsey Decker
Chapter 15. Gigi Saul Guerrero and her Latin American Female Monsters
Valeria Villegas Lindvall
Chapter 16. Uncanny Tales: Lucile Hadžihalilovi¿’s Évolution
Janice Loreck
Chapter 17. The (re)Birth of Pregnancy Horror in Alice Lowe’s Prevenge
Amy C. Chambers
Chapter 18. The Rise of the Female Horror Filmmaker-Fan
Sonia Lupher
Notes on Contributors
Index