*CFP* "COMPANION TO HORROR FILM AND MEDIA STUDIES", BOOK CHAPTER

Film scholar Robin Wood famously argued that “central to the effect and fascination of horror films is their fulfillment of our nightmare wish to smash the norms that oppress us and which our moral condition teaches us to revere.” From the very beginnings of the silent film era to our present day, the horror genre has continued to attract audiences and proliferate across multiple modes of film and media—addressing our fears, anxieties, and sometimes our deepest, darkest fantasies. Amidst the perpetual unease of the 21st century with its ever-present threats of environmental disaster and climate change, viral pandemics, economic recessions, political uprisings, mass shootings, and ongoing warfare it is hardly surprising that the horror genre is more prolific and popular than ever.

Although a number of excellent horror film companions currently exist, few have taken a broader approach to the genre in examining its manifestations across multiple media. Consequently, this collection aims to assemble a wide range of scholarship addressing the intersections, influences, and impacts of the horror genre’s proliferation across multiple forms of media including but not limited to film, television, web series, video games, tabletop and RPGs, comics and graphic novels, social media, etc. Our guiding thematic focus is “new directions” in horror. Many of our examples will hail from the present century (or look at ways the present century adapts/looks back at previous examples, since most “new directions” in both media and its scholarship are clearly derived from previous trails). Despite the shadow cast by Hollywood, we will attempt to include a broad spectrum of film, television, and other media examples reflecting wide-ranging international perspectives. Additionally, we will aim to draw together a diversity of approaches, from scholars of pedagogy and media production practitioners to teachers of media and communication studies, adaptation studies, disability studies, critical race studies, among others.

*CFP* "EL CANON CINEMATOGRÁFICO", Nº 78, ARCHIVOS DE LA FILMOTECA

Muchas historias artísticas o estéticas necesitan de unas obras trascendentes, grandes referentes a partir de los cuales construir su discurso sobre el pasado. Mirando retrospectivamente, la suerte de tales obras canónicas depende del baile al que las haya sometido el tiempo y sus oleadas culturales, bien fijándolas desde su concepción en el Olimpo de lo clásico, lo seminal, lo modélico, etcétera, o bien haciéndolas oscilar entre el encumbramiento y la execración, entre el reconocimiento y el olvido, para terminar reverenciándolas. La selección de las obras consideradas canónicas nunca ha sido inocente, y es competencia del analista y del historiador del cine identificar los motivos que hay detrás de la canonización. Con todo, en un tiempo en el que lo políticamente correcto tiene un peso importante en la historiografía y, sobre todo, en la crítica cinematográfica, cabe preguntarse hasta qué punto la propia ética del canon –y no tanto la de la obra en sí– es la que, en un ejercicio de autoconciencia continua, está en tela de juicio cuando este es pensado. Entre las numerosas acepciones del término “canon” que recogen buena parte de los diccionarios, destacan “regla o precepto” –normas sustentadas en la costumbre que rigen una actividad– y “catálogo o lista” –de obras artísticas consideradas modélicas frente a otras que no lo son, de textos sagrados frente a los apócrifos–.