A collection of essays is underway that explores the historic or cultural relevancy of theatrically released Mexican horror films. The editor seeks essays on each of the following films that explore why they are important and enduring. The term “Mexican horror film” applies to those cinematic works that were produced/directed in Mexico or whose major creative force is of Mexican origin. The “horror” element of each film can be gore, the supernatural, monsters, suspense, etc. We encourage examination of the film itself (the plot, questions of fidelity between the script and the finished product, topics related to film grammar) and other topics or themes within Mexican Horror Film Studies surrounding representation, audiences, political and social references, identity, violence aesthetics, genre, patriarchal institutions, religious allegories, gender, queer, feminism, post-colonialism, temporality, fetishism, “the Other” or "Máscara metaphor", and the film’s central “terror” (monster, horror element, etc) as an allegory for Mexico, its post-revolutionary growing-pains, or its labyrinthine identity paradox-dichotomy. References between Mexican horror films and philosophers like Octavio Paz, Ramón Xirau, Leopoldo Zea and Roger Bartra are encouraged.
Moreover, any connections to Vladimir Propp, Laura Mulvey, Julia Kristeva, and/or horror theories are welcomed also. Lastly, we'd welcome old or new interviews (with proper copyright clearance) with those that made or are still making Mexican horror films.
Suggested movie titles include:
Dos monjes (1934) Juan Bustillo Oro.
El fantasma del convento (1934) Fernando de Fuentes.
El misterio del rostro pálido (1935) Juan Bustillo Oro.
El hombre sin rostro (1950) Juan Bustillo Oro.
El monstruo resucitado (1953) Chano Urueta.
La bruja (1954) Chano Urueta.
El vampiro (1957) Fernando Méndez.
El ataúd del vampiro (1958) Fernando Méndez.
Muñecos infernales (1960) Benito Alazraki.
El mundo de los vampiros (1961) Alfonso Corona Blake.
El barón del terror (1962) Chano Urueta.
La maldición de la llorona (1962) Rafael Baledón.
Pánico (1965) Julián Soler
El libro de piedra (1969) Carlos Enrique Taboada.
The Mansión of Madness (1972) Juan López Moctezuma.
La noche de los 1000 gatos (1972).
Más negro que la noche (1975) Carlos Enrique Taboada.
La tía Alejandra (1978) Arturo Ripstein.
Alucarda, la hija de las tinieblas (1978) Juan López Moctezuma.
Veneno para las hadas (1984) Carlos Enrique Taboada.
Completed essays should be in English, from 25 to 30 pages, MLA format. Suggestions for essays on other films are welcome. Please email all proposals (approximately 300 words) and your CV/bio (approx. 3-4 sentences) by April 15, 2011. Completed essays will be due on July 4, 2011. Previously published work (with appropriate copyright permission) will be considered. If you supply photographs, screenshots, scans of "Carteles" or have permission to publish these images, please specify that in your proposal. Email to the editor all correspondence in Word attachments to: firstname.lastname@example.org
The editor expects this work to be tied to other similar-themed collections, so if you are unable to collaborate in Mexican Horror Films: Studies in the Horror Film email the editor your research interests or areas of expertise. The common denominator between this and other projects and scholars/academicians who collaborate with me, is their strong passion for horror film.
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