I would like to take this opportunity to assure all of you that I know what I'm doing, no matter how erratic it may currently seem. That said, I'd like to briefly map out my latest train of thought.
It's no secret that everything will be filed away under the umbrella thesis of addressing ART v. PORN v. CENSORSHIP in a feminist critique of mainstream culture. The "easiest" way to go about the subject matter(s) at hand was to begin by breaking everything down into three main categories: ART v. PORN; ART v. CENSORSHIP; and PORN v. CENSORSHIP. Granted, it's become increasingly clear that several topics breach my self-designated pigeon-holes, I'd still like to pretend this is an efficient way of filing everything.
Currently, I'm working on ART v. CENSORSHIP: more specifically, a portion titled "SlasHERS," which remains dedicated to addressing Sexuality and Censorship in Horror films. For months, I've been slowly softening my brain and traumatizing myself with Sunday morning rape scene montages and daily intakes of wretched remakes. I'm still enjoying myself far too much, given the circumstances. I also continue to accept interviewees for my "SlasHERS" questionnaire, and I advocate for the promotion of this particular project above all others (for now).
Before delving too deeply into the history of women in film, or any of my more particular, newfound interests, I thought it proper to read up on the social context of the horror film. Nothing is ever this simply, however. My horror-centric research has remained true to its purpose, in examining:
I have also begun developing a side-story on quirkier particulars through:
(MisSinEma- a brief on the history of women in Hollywood)