What’s Eating You? Food and Horror on Screen 2016034482, 2016053036, 9781501322389, 9781501322396, 9781501322419

Table of contents :
Cover
Half Title
Title
Copyright
Dedication
Epigraph
Table of Contents
Acknowledgments
Introduction
To eat, or not to eat
Dangerous dishes
What’s eating you?
Food and horror
Notes
Bibliography
Part one Let the Eater Beware
1 Death at the Drive-Thru: Fast Food Betrayal in Bad Taste and Poultrygeist
Crunchy delights and zombie chicken
The horrors of fast food
The political economy of betrayal
Conclusion
Notes
Bibliography
2 Let Them Eat Steak: Food and the Family Horror Film Cycle
Tastes like chicken: Poltergeist and the food politics of Reaganite entertainment
Farms, tables, and chainsaws: cannibalism and community-supported agriculture in The Texas Chainsaw Massacre
You never did eat lunch, did you? or, Marion Crane’s untimely death row meal
Conclusion
Notes
Bibliography
3 Much Still Depends on Dinner: Cannibalism and Culinary Carnival in Shaun of the Dead and Zombieland
Culinary carnival
Fast food/mindless eating
Meals and family bonding
Notes
Bibliography
4 Dumplings: The Commodification of Cannibalism and the Liminal Condition of Consumption
The film
Reception and interpretation
Commodification of cannibalism and the liminal condition of consumption
Conclusion
Notes
Bibliography
5 The Goo in You: Food as Invader in The Stuff
The story of The Stuff
Losing our minds
Unraveling the social fabric
The ideology of the cancer cell
Conclusion: the enemy within
Notes
Bibliography
Part Two Sins of the Flesh
6 Cannibalism as Cultural Critique: Peter Greenaway’s The Cook, The Thief, His Wife, and Her Lover and Thatcherism
Eating emblematically: the form of the feast
Curtains, color coding, menus, and dichotomies: Greenaway’s formalist layering
Dutch painting, Jacobean tragedy, the French Revolution, and religious iconography: Greenaway’s allusive layering
The enemies and allies of culture: the cultural critique of Thatcherism
Final feast
Notes
Bibliography
7 “The red gums were their own”: Food, Flesh, and the Female in Beloved
Food and the fantastic
Temptress and trickster
The devouring mother
Conclusion
Notes
Bibliography
8 “Do I Look Tasty to You?”: Cannibalism beyond Speech and the Limits of Food Capitalism in Park’s 301/302
Consuming meat, consuming women: 302 and traumatic markets
Marriage roles and appetites: 301 and a desire to be sated
Men and women, speaking and silence, eating and hunger
Conclusion: consuming Korean women’s oppression
Notes
Bibliography
9 Flesh and Blood in Claude Chabrol’s Le Boucher
Notes
Bibliography
10 A Hunger for Dead Cakes: Visions of Abjection, Scapegoating, and the Sin-Eater
Sin-Eaters: an unnatural mythology
All in the sin-eater family
Food, abjection, and the breakdown of meaning
The Sin-Eater as scapegoat
Conclusion: scapegoating the community
Notes
Bibliography
Part three The Extreme End of Consumption
11 Coprophagia as Class and Consumerism in the Human Centipede Films
The Human Centipede (First Sequence): class and the fetishism of commodities
The Human Centipede 2 (Full Sequence): consumerism as class emulation
The Human Centipede 3 (Final Sequence): full circle
Notes
Bibliography
12 Eat, Kill, . . . Love? Courtship, Cannibalism, and Consumption in Hannibal
Rebooting Dr. Hannibal Lecter
A different breed of killer
Of cannibals, class, and consumption
Eat, kill . . . love?
Doctor, eat thyself
Notes
Bibliography
13 Catering to the Cult of Ishtar: Blood Feast
Preparations for a feast
The cult of Ishtar
The invention of “gorror”
Maidens and meat
Conclusion: selling the sizzle
Notes
Bibliography
14 From Gourmet to Gore: Jean-Pierre Jeunet’s Delicatessen
The political economy of meat
A finite universe of archetypes
The banality of cannibalism
The choice “not to know” as political metaphor
Conclusion
Notes
Bibliography
15 Who Can Be Eaten? Consuming Animals and Humans in the Cannibal-Savage Horror Film
The savage cannibal
Animal violence and consumption
The authentic animal death
Food taboos in the cannibal-savage film
Who can be eaten?
Notes
Bibliography
Part Four You Are What You Eat
16 “You Are What Others Think You Eat”: Food, Identity, and Subjectivity in Zombie Protagonist Narratives
Zombie foodways on screen: a brief history
Beyond brains: food and the comedic zombie
Food and conflicted identity in zombie dramas
Conclusion
Notes
Bibliography
17 From Sugar-Fueled Killer to Grotesque Gourmand: The Culinary Maturation of the Cinematic Serial Killer
“Frantic indulgence of childish appetites”: Hans Beckert and M
Sandwiches, milk, and candy corn: Hitchcock’s killer children and their descendants
After Lecter: the serial killer grows up
Notes
Bibliography
18 Consumption, Cannibalism, and Corruption in Jorge Michel Grau’s Somos lo que hay
Historicization, poverty, and consumption
Cannibalism, youth culture, and disaffection
Corruption, community, and urban tribes
Conclusion
Notes
Bibliography
19 Sinister Pastry: British “Meat” Pies in Titus and Sweeney Todd
Sins of the flesh
Food and corruption
Culinary etymology and the English housewife
Professional cooks and the absent housewives
Conclusion
Notes
Bibliography
20 All-Consuming Passions: Vampire Foodways in Contemporary Film and Television
Blood and identity
Blood as a drug
Blood and the social order
Conclusion
Notes
Bibliography
About the Editors
Notes on Contributors
Index

Polecaj historie

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