Letter from the Editors

By Connor McMorran and Sarah Smyth

No Safe Space: Economic Anxiety and Post-Recession Spaces in Horror Films

By Joni Hayward

This Footage is Yet to be Found: Outlast and the Found Footage Aesthetic

By Madelon Hoedt

“We Won’t Eat You, Dear”: The Collision of Class, Scales, and Body Horror in ‘The Lure’

By Agnieszka Kotwasińska

The Reflection of Contemporary Anxieties in the Contemporary French Horror Cycle

By Şirin Fulya Erensoy

Beyond Killer/Victim: Re-Inventing Monsters in Israel Luna’s Ticked-Off Trannies with Knives

By Evelyn Deshane

VR Unleashes New Dimensions of Horror

By Merinda Staubli

Scary Business: Horror at the North American Box Office, 2006-2016

By Todd K. Platts and Mathias Clasen

Reading The Scream in Berberian Sound Studio and the films of Peter Strickland

By Matthew Melia

Exhuming the Past: Found-Footage Horror and National Wounds

By Duncan Hubber

Thirty-Five Years of Middle-Class Fears: How Two Poltergeists Address Race, Class, and Gender

By Paul Doro

Mosaic Space and Mosiac Auteurs : On the Cinema of Alejandro Gonzalez Inarritu, Atom Egoyan, Hou Hsiao-Hsien, Michael Haneke

Global Cinematic Cities: New Landscapes of Film and Media

Queer Sexualities in Early Film: Cinema and Male-Male Intimacy