In horror cinema, some of the most memorable and iconic monsters are the mothers themselves. If looking into the horror genre, however, a glaring trend becomes apparent: what is going on with the mothers? The Monstrous
Between the Skype calls, Instagram memories, and posted flowers and chocolates, it is a fantastic day to turn to cinema to celebrate our favourite material figures on film.
The holiday falls on Sunday 10 th May in the United States this year, and it may be a hard year to celebrate in person. 151-165.Mother’s Day: a time to celebrate the brilliant, hardworking women who raised us into the film fans we are today. (Ed.) Gender and Contemporary Horror in Film ( Emerald Studies in Popular Culture and Gender), Emerald Publishing Limited, Bingley, pp. (2019), "The Monstrous-feminine and Masculinity as Abjection in Turkish Horror Cinema: An Analysis of Haunted ( Musallat, Alper Mestçi, 2007)", Holland, S., Shail, R. Clover and Julia Kristeva to discuss the monstrous-feminine and masculinity as abjection. In analysing Haunted, the chapter will use the theoretical framework of Barbara Creed, Carol J. Then, the chapter will discuss the codes and conventions of the genre and explore the unique place of Alper Mestçi’s 2007 film Haunted ( Musallat), among its contemporaries in terms of the ways in which the film challenges these established codes and conventions. The chapter will first explore the reasons horror has been neglected in the century-long history of cinema in Turkey and move on to highlight the socio-economic, cultural, and political contexts that were catalysts for the horror genre’s emergence. These female-centred narratives rely both on Islamic cosmology and myths and folktales of pre-Islamic Anatolian oral culture. Since 2004, Turkish cinema has been witnessing an emergence of horror genre, now flooded with stories of possession by malevolent jinn, as transgressive, volatile figures of abjection.
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