Conference registration is now open!

Registration for the Gothic Feminism conference Women-in-Peril or Final Girls? Representing Women in Gothic and Horror Cinema is now open and will close on Friday 12th May 2017.

To register, please visit the University of Kent’s Online Store here or via:

Registration Fees

The conference fees are:

£45 (waged)

£25 (unwaged)

The conference fee includes a delegate pack, lunch and refreshments for the three days.

Registration Deadline

Registration with close on  Friday 12th May 2017.

Further Information

The conference programme can be viewed here. Advice on travelling to Kent can be found here. Please direct any queries to:

These details are also available to view on Registration page.

We look forward to welcoming you to Kent!

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Conference programme: Women-in-Peril or Final Girls? Representing Women in Gothic and Horror Cinema

We are thrilled to announce the programme of this year’s Gothic Feminism conference. A huge thanks for everyone who submitted an abstract and for all those speakers who have agreed to participate.

The programme is also available to view here.

Gothic Feminism presents:

Women-in-Peril or Final Girls? Representing Women in Gothic and Horror Cinema

24th – 26th May 2017

University of Kent


Wednesday 24th May

09:00 – 09:30              Registration

09:30 – 9:45                Welcome and Opening Remarks

9:45 – 11:00                Keynote Speech – Dr Xavier Aldana Reyes (Manchester Metropolitan University):

What Final Girls Did Next: Horror Heroines in the Age of Postfeminism’

11:00 – 11:30              Tea & coffee break

11:30 – 13:00              Papers 1: The Gothic and Horror of Crimson Peak

‘Taking the Final Girl Backwards: Femininity and Abjection in Del Toro’s Crimson Peak’ – Marine Galiné (University of Reims-Champagne-Ardenne)

‘Don’t Call it a Horror Film: The Uses of the Gothic in Crimson Peak’ – Matt Denny (University of Warwick)

‘The Presence of Absence: The Supernatural Gothic of Crimson Peak’ – Frances A. Kamm (University of Kent)

13:00 – 14:00              Lunch

14:00 – 16:00              Papers 2: Split Identities

‘“Sins? What Sins? I am a Scientist I Cannot Sin”: Exploring Thematic Dichotomies in the Filmic Representation of Mary Shelley’ – Linda McCarthy (University of East Anglia) and Richard Sheppard (University of Wales)

‘Silver Spangles in Her Eyes: The Gypsy Outlaw and Female Fantasy in the Gainsborough Gothics’ – Carolyn King (Independent Scholar)

‘“The Human Component in a Turing Test” Monstrous Final Girl-in-Peril: Creating Gothic Horror Through Setting and Character in Ex Machina” – Rebecca Jones (De Montford University)

‘Dead Girls on Film: Murder, Media and Nostalgia’ – Katherine Farrimond (University of Sussex)

16:00 – 16:30              Tea & coffee break

16:30 – 18:00              Papers 3: Age

‘A “Child-Friendly” Horror Aesthetic: Coraline as Female Gothic and Slasher Film’ – Catherine Lester (University of Warwick)

‘Matron or Nanny: Representations of Older Women in Modern British Gothic Horror Films’ – Natasha Parcei (Leeds Beckett University)

‘That Cold Day in the Park: A Countercultural Gothic’ – James Kloda (Freeland Writer and Journalist)

18:00 – 19:00              Cake and wine reception


Thursday 25th May

09:30 – 11:00              Papers 4: Bewitching the Body

‘The Terrifying and the Teenage: How Possession Films Reflect the Societal Fear of Young Women’s Sexuality and Agency’ – Hannah Granberry (University of Colorado Boulder)

‘“Wouldst Thou Like to Live Deliciously?”: Gothic Feminism and the Final Girl in The Witch’ – Victoria Madden (University of Edinburgh)

‘Witches, “Bitches” or Feminist Trailblazers? Tracing Interpretation of the Witch from Piers Haggard’s Blood on Satan’s Claw (1971) to Robert Egger’s The Witch (2016)’ – Chloé Germaine Buckley (Manchester Metropolitan University)

11:00 – 11:30              Tea & coffee break

11:30 – 13:00              Papers 5: Transgressive Women

‘The “Penultimate Girl” as Gothic Woman-in-Peril and Modernist Final Girl in Vincenzo Natali’s Haunter (2013) – Lee Broughton (Independent Scholar)

‘“Unsettling the Men”: The Representation of Transgressive Female Desire in Daughter of Darkness (1948)’ – Paul Mazey (University of Bristol)

‘Bewitched, Bedazzled and Bewildered: The Rituals of Witchcraft in The Neon Demon’ – Jennifer Richards (Manchester Metropolitan University)

13:00 – 14:00              Lunch

14:00 – 16:00              Papers 6: International Gothic and Horror

‘From Gothic Ballet to Horror at the Opera: The Endangered Female in Dario Argento’s Suspiria and Opera’ – Maria Giakaniki (Independent Scholar)

Miss Christina: From Mircea Eliade’s Novella to the Romanian Gothic Big-Budget Production’ – Oana-Maria Mazilu (University of Kent)

‘La Fille Final: The Final Girl in Contemporary French Horror Cinema’ – Maddison McGillvray (York University, Canada)

‘“The Saviour Who Came to Tear My Life Apart”: Queer Subjectivity and Reparative Paranoia in Chan-wook Park’s The Handmaiden’ – Robyn Ollett (Teeside University)

16:00 – 16:30              Tea & coffee break

19:00                           Film Screening (TBC) Ticket not included in registration fee


Friday 26th May

09:30 – 11:00              Papers 7: Post-Gender

Martyrs: The Defacement of Gender in a Monstrous Female Melodrama’ – Katerina Flint-Nicol (University of Kent)

‘Virgins and Vampires: The Ambiguous Women of Jean Rollin’s Gothic Dreams’ – Virginie Guichard (Westminster School)

‘The Final Girl of 21st-Century EcoGothic Cinema’ – Dawn Keetley (Lehigh University)

11:00 – 11:30              Tea & coffee break

11:30 – 13:00              Papers 8: Gothic Horror on TV

‘Demonic Possession, Gothic Suspicion and the Homme Fatale in Buffy the Vampire Slayer’ – Louise Child (Cardiff University)

‘The Women of Penny Dreadful: Gothic, Horror, and the Melodramatic Imagination’ – Alison L. McKee (San José State University)

Jamaica Inn: Simplifying Gender, Simplifying Genre’ – Holly Hirst (Manchester Metropolitan University)

13:00 – 14:00              Lunch

14:00 – 15:30              Papers 9: Gothic and Horror in Unexpected Locations

‘Gone Girl: Gender, Sexuality, and Horror in Gone Home’ – Andra Ivanescu (Brunel University and Anglia Ruskin University)

‘Rambler, Mother, Killer: Alice Lowe’s subversion of the Gothic Heroine in Sightseers and Prevenge’ – Lawrence Jackson (University of Kent)

‘“Sarge! She’s as hard as a rock!” – “You don’t have to tell me that. I’ve been married to her for fifteen years!” or How the Role of the Gothic Woman is Represented in Carry on Screaming!’ – Steven Gerrard (Leeds Beckett University)

15:30 – 16:00              Final remarks and closing of conference

16:00 – 16:30              Tea & coffee

Gothic Feminism screening: La Belle et la bête

On Sunday, Frances provided the introduction for a special screening on Jean Cocteau’s La Belle et la bête (1946) at the Curzon Cinema, Canterbury. The film is the first of a series of screenings we hope to to show as part of our wider Gothic Feminism project.

A summary of the introduction is below:

La Belle et la bête (Cocteau, 1946)

Disney will soon be releasing its new, live-action version of Beauty and the Beast starring Emma Watson and Dan Stevens which is based on the 1991 animation of same name. This year’s film is the latest in a series of live-action adaptations of previously successful Disney animations and early trailers for the film confirm the connection: the 2017 version is directly inspired by the narrative, imagery and motifs of its predecessor. But what was the inspiration for that original cartoon version of the story? There are many possible answers to this question but one of the most important involves Jean Cocteau’s La Belle et la bête from 1946.

This introduction shall explore the enduring legacy of Cocteau’s film for cinema history, and outline the director’s motivations for adapting the tale and how the film has been interpreted within scholarship. I will also explore the origins of the ‘Beauty and the Beast’ myth and argue that Cocteau’s adaptation of the story highlights the fairy tale’s Gothic potential.

La belle et la bete

(Text by: Frances A. Kamm; Image: La Belle et la bête, 1946)