Tasting Horror
Radical Forms of Feeding in Guy Endore's The Werewolf of Paris
Bibliographic Data
| ID | 2976908 |
|---|---|
| Authors | Coghlan, Coghlan Coghlan (corresponding author) |
| Year | 2015 |
| Volume | 2 |
| Issue | 1 |
| Publication date | 2015-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Resilience A Journal of the Environmental Humanities (JOURNAL) |
| Journal identifiers | ISSN: 2330-8117 • E-ISSN: 2330-8117 |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.5250/resilience.2.1.003 |
| OpenAlex | W2177248549 |
| Language | EN |
| References cited | 3 |
In a fascinating 2012 piece in American Literary History, Michael Newberry suggests that a number of recent zombie films register— and actually might more thoroughly interrogate— exactly the agribusiness anxiety and landscape of industrialfood apocalypse explored by such critically acclaimed exposes of our fastfood, or junkfood, presents and futures as Fast Food Nation and Food, Inc. In so doing, he reminds us that “no genre is more routinely, even structurally, and disturbingly obsessed with food supply, food chains, and the question of who eats what or whom than the apocalyptic zombie movie” but points out that scholars in the environmental humanities nevertheless have “steered clear” of the genre.1 While the clarion call that Newberry issues here is most directly for us to take contemporary zombie films seriously, I would argue his reminder is equally applicable to the broader category of horror, a genre that on page, as well as screen, near inescapably, and at times selfreflexively, meditates on both the ecology and the ends of eating. Yet such a claim might seem, at least at first glance, less surprising
Aesthetics · Art · Art history · CLARION · Futures contract · History of literature · Literature · Visual arts · Wine tasting · Zombie · Computer Science · Crime and Detective Fiction Studies · Gothic Literature and Media Analysis · History · Modern American Literature Studies · Psychology
| Highly cited | No |
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