Alison Peirse
Biographic Data
| ID | 642961 |
|---|---|
| NAME | Alison Peirse |
| GIVEN NAMES | Alison |
| FAMILY NAME | Peirse |
| SIGNATURE | PEIRSE A |
| AFFILIATIONS | University of Leeds |
| ORCID | 0000-0003-1032-9013 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Suffocated But Screaming
This video essay explores how the ageing woman is made monstrous in kaibyō eiga (Japanese ghost cat films). The supporting statement reflects on the scholarly rationale for, and the making of, the video essay and then makes a case for its original contribution to horror studies and videographic criticism
When the Woman Writes
“The One Who Did Not Die”
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Screenwriting, poetics, horror
1976 novel Julia, it features Mia Farrow as the eponymous protagonist, a grieving mother haunted by a demonic child, in a canny piece of intertextual casting that trades on Farrow's star image in Rosemary's Baby (Roman Polanski, 1968).I had not heard of the film, which I soon discovered to be a common state of affairs.Full Circle had been neglected both academically and critically, and as recently as 2017 it was described as 'one of the great "lo…
The Hidden Work of Women
The British horror television series Bedlam (2011–2012) was made by RED Productions and created and written by a trio of male screenwriters, David Allison, Neil Jones, and Chris Parker, with RED’s Richard Fee as Script Editor. However, this team was supported through the development process, from initial idea to final broadcast, almost exclusively, by women. Drawing on original interviews with practitioners, this article explores the creative con…
Genre, gender and television screenwriting
This article draws on the 2018 Writers Guild of Great Britain report ‘Gender Inequality and Screenwriters’, and original interviews with female screenwriters, to assess how the experience of genre plays out in the UK television industry. The report focuses on the experience of women, as a single category, but we aim to reveal a more intersectional understanding of their experiences. Our aim is to better understand the ways in which women are, acc…
Women Make Horror
The Script, The Séance And The Censor
In his memoirs, screenwriter Charles Bennett reflects upon writing the British horror film Night of the Demon (1957, Jacques Tourneur). He reveals his lack of fondness for the film’s executive producer, commenting ‘Hal Chester, if he walked up my driveway right now, I’d shoot him dead’. Chester rewrote elements of Bennett’s script to focus attention on the fire demon, and arranged additional filming after Tourneur had completed directing duties. …
Speaking for herself
In October 2010, the radio broadcaster Philip Dodd interviewed Clio Barnard about her new documentary, The Arbor (2010), based on the life of the late playwright Andrea Dunbar. As part of the film-making process, Barnard recorded audio interviews with Dunbar’s family then hired professional actors to lip-synch the responses in the film. Dodd had a major problem with this method: The Arbor is rooted in the lives of working-class Northern women, ye…
After Dracula The 1930s Horrror Film
There are many people and a number of institutions that have made it possible for me to write this book. The AHRC funded an early stage of my research and Northumbria University funded a semester-long sabbatical that enabled me to write a number of chapter first drafts. Philippa Brewster, my editor at I.B.Tauris, deserves a mention for her support of this project, as does my excellent copy-editor Frances Follin. A special thank you goes to Annett…
Korean Horror Cinema
The first detailed English-language book on Korean horror introduces the cultural specificity of the genre to an international audience, from the iconic monsters of gothic horror, to the avenging killers of Oldboy and Death Bell. \n \nBeginning in the 1960s, it traces a path through the history of Korean horror, offering new interpretations of classic films, demarcating the shifting patterns of production and consumption across the decades, and a…
A Broken Tradition
This article examines a hitherto unexplored area of British television history: the relationship between telefantasy (a term that encompasses fantasy, science fiction and horror on television) and British television drama for children during the 1980s and early 1990s. It suggests that British telefantasy can be conceptualized as a broken tradition, with peaks marked not only in the family- and adult-orientated productions of the 1970s and late 19…
The Lure of the Vampire
Journal Article The Lure of the Vampire: Gender, Fiction and Fandom from Bram Stoker to Buffy Get access Milly Williamson, The Lure of the Vampire: Gender, Fiction and Fandom from Bram Stoker to Buffy. London: Wallflower Press, 2005, 213 pp. Alison Peirse Alison Peirse Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 48, Issue 1, Spring 2007, Pages 137–140, https://doi.org/10.1093/screen/hjm011 Published: 01…
The Lure of the Vampire
Journal Article The Lure of the Vampire: Gender, Fiction and Fandom from Bram Stoker to Buffy Get access Milly Williamson, The Lure of the Vampire: Gender, Fiction and Fandom from Bram Stoker to Buffy. London: Wallflower Press, 2005, 213 pp. Alison Peirse Alison Peirse Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 48, Issue 1, Spring 2007, Pages 137–140, https://doi.org/10.1093/screen/hjm011 Published: 01…
The Lure of the Vampire
Journal Article The Lure of the Vampire: Gender, Fiction and Fandom from Bram Stoker to Buffy Get access Milly Williamson, The Lure of the Vampire: Gender, Fiction and Fandom from Bram Stoker to Buffy. London: Wallflower Press, 2005, 213 pp. Alison Peirse Alison Peirse Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 48, Issue 1, Spring 2007, Pages 137–140, https://doi.org/10.1093/screen/hjm011 Published: 01…
A Broken Tradition
This article examines a hitherto unexplored area of British television history: the relationship between telefantasy (a term that encompasses fantasy, science fiction and horror on television) and British television drama for children during the 1980s and early 1990s. It suggests that British telefantasy can be conceptualized as a broken tradition, with peaks marked not only in the family- and adult-orientated productions of the 1970s and late 19…
After Dracula The 1930s Horrror Film
There are many people and a number of institutions that have made it possible for me to write this book. The AHRC funded an early stage of my research and Northumbria University funded a semester-long sabbatical that enabled me to write a number of chapter first drafts. Philippa Brewster, my editor at I.B.Tauris, deserves a mention for her support of this project, as does my excellent copy-editor Frances Follin. A special thank you goes to Annett…
Korean Horror Cinema
The first detailed English-language book on Korean horror introduces the cultural specificity of the genre to an international audience, from the iconic monsters of gothic horror, to the avenging killers of Oldboy and Death Bell. \n \nBeginning in the 1960s, it traces a path through the history of Korean horror, offering new interpretations of classic films, demarcating the shifting patterns of production and consumption across the decades, and a…
Speaking for herself
In October 2010, the radio broadcaster Philip Dodd interviewed Clio Barnard about her new documentary, The Arbor (2010), based on the life of the late playwright Andrea Dunbar. As part of the film-making process, Barnard recorded audio interviews with Dunbar’s family then hired professional actors to lip-synch the responses in the film. Dodd had a major problem with this method: The Arbor is rooted in the lives of working-class Northern women, ye…
The Script, The Séance And The Censor
In his memoirs, screenwriter Charles Bennett reflects upon writing the British horror film Night of the Demon (1957, Jacques Tourneur). He reveals his lack of fondness for the film’s executive producer, commenting ‘Hal Chester, if he walked up my driveway right now, I’d shoot him dead’. Chester rewrote elements of Bennett’s script to focus attention on the fire demon, and arranged additional filming after Tourneur had completed directing duties. …
Women Make Horror
Genre, gender and television screenwriting
This article draws on the 2018 Writers Guild of Great Britain report ‘Gender Inequality and Screenwriters’, and original interviews with female screenwriters, to assess how the experience of genre plays out in the UK television industry. The report focuses on the experience of women, as a single category, but we aim to reveal a more intersectional understanding of their experiences. Our aim is to better understand the ways in which women are, acc…
The Hidden Work of Women
The British horror television series Bedlam (2011–2012) was made by RED Productions and created and written by a trio of male screenwriters, David Allison, Neil Jones, and Chris Parker, with RED’s Richard Fee as Script Editor. However, this team was supported through the development process, from initial idea to final broadcast, almost exclusively, by women. Drawing on original interviews with practitioners, this article explores the creative con…
“The One Who Did Not Die”
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Screenwriting, poetics, horror
1976 novel Julia, it features Mia Farrow as the eponymous protagonist, a grieving mother haunted by a demonic child, in a canny piece of intertextual casting that trades on Farrow's star image in Rosemary's Baby (Roman Polanski, 1968).I had not heard of the film, which I soon discovered to be a common state of affairs.Full Circle had been neglected both academically and critically, and as recently as 2017 it was described as 'one of the great "lo…
Suffocated But Screaming
This video essay explores how the ageing woman is made monstrous in kaibyō eiga (Japanese ghost cat films). The supporting statement reflects on the scholarly rationale for, and the making of, the video essay and then makes a case for its original contribution to horror studies and videographic criticism
When the Woman Writes
Art (11 works) · Cinema and Media Studies (8 works) · History (6 works) · Sociology (6 works) · Visual arts (6 works) · Law (5 works) · Literature (5 works) · Media studies (5 works) · Political science (5 works) · Art history (4 works)