£3 + booking fee
Foyle Film Festival is offering a programme of screenings as part of In Dreams Are Monsters: A Season of Horror Films, a UK film season supported by the National Lottery and BFI Film Audience Network.
This programme of events will focus on the creatures which have haunted our screens and dreams for over a century. These choices will chart how the monsters of horror have made physical the anxieties of their times, and how we react when faced with the monster within.
This event is dedicated to women who have played an integral part of horror cinema, as creators, consumers, and critics, from the very start — shaping and supporting what horror cinema is. A screening of Nia DaCosta’s Candyman (2021) is followed by a discussion on the women that have defined the genre of horror as a cultural institution, scholarly discipline and site of pleasure.
The event is curated and presented by Dr. Victoria McCollum, Ulster University and Director Aislinn Clarke.
McCollum and Clarke are co-editors of Bloody Women: Women Directors of Horror (2022 University Press). The book, published as part of the Critical Conversations in Cinema series traces changing gender dynamics in the horror film industry.
Anthony McCoy, a visual artist, gets obsessed with the legend of the Candyman. He soon stumbles into insanity, unravelling some unknown truths.
A sequel to the horror film Candyman (1992) which returns to the now-gentrified Chicago neighbourhood where the legend began.
“DaCosta’s visual flair is apparent, from the way she details flesh turning to rotten honeycomb, to the visceral squelch of pressing open a wound.” — Simran Hans, The Observer
2021. Canada/USA. Director: Nia DaCosta. Cast: Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, Colman Domingo. Duration: 1hr 31mins. Cert: 15
Bloody Women: Women Directors of Horror (Critical Conversations in Horror Studies)
Bloody Women traces changing gender dynamics in the horror film industry to explore how women have played a crucial role in defining the genre of horror understood as a scholarly discipline, cultural institution, and site of pleasure.
While acknowledging that women in the industry face ongoing challenges, this book focuses on their diverse contributions as creators, consumers, and critics of horror, showing how women have been essential in shaping the goals and methods of the genre.
Aimed at both scholarly and general readers, the chapters bring together the expertise of filmmakers, festival programmers, and scholars to argue that women have effected a reimagining of horror.
To this end, the volume considers a range of historical and theoretical issues relevant to gender and the genre of horror, broadly conceived. The collection explores, for example, female-directed horror films as a distinctive enterprise, one that is potentially marked by unique cinematic techniques and topical concerns.