John Atkinson, Xavier Mendik and Daniel Sheppard wish to sincerely thank all who made this issue of Cine-Excess Journal possible, namely contributors, peer reviewers, and Paul Johnson for his hard work in designing this edition. We also wish to offer additional thanks to Professor Barbara Creed, Barbie Wilde, Nicholas Vince and Ursula Dubrowsky for their ongoing support of Cine-Excess as a project.
The images from Ginger Snaps (2000) reproduced in the article ‘The Monstrous-Feminine: Radical Abjection and Transformation’ are courtesy of Second Sight Films, and we wish to thank Philip Escott for his assistance in securing permission to use these materials. Additionally, the images from Revenge (2016) also used in this article are courtesy of the Alamy collection and are reproduced here under licence.
The trailer for The Devil’s Work (2023) reproduced in the filmed interview between Barbara Creed and Ursula Dubrowsky is courtesy of Demon Girl Productions, and we wish to thank Sue Brown for her assistance in securing these video materials for use in this issue.
The images of M3GAN (2023) used in the article ‘Domestic AI is the New Monstrous-Feminine: Compulsory Roles for Robot-Girls and Mothers in M3GAN (2023)’ are courtesy of the Alamy collection and are reproduced here under licence.
The images of Raw (2016) used in the article ‘You Are What You Eat: Vegetarianism and Cannibalism in Julia Ducornau's Raw (2016)’ are courtesy of the Alamy collection and are reproduced here under licence.
The images of Hellraiser (1987) and Hellbound: Hellraiser II (1988) used in the article ‘Transforming the AIDS Monster: Tearing Apart the Human(e) in Hellraiser and Hellbound: Hellraiser II Through Gothic Becoming-Withs’ are courtesy of Arrow Films and we wish to thank Alasdair Bayman, Louise Buckler and Cameron Waaler for securing these images for use in this issue.
The trailer for Hellraiser (1987) reproduced in the filmed interview between Paul McEvoy and Doug Bradley is courtesy of Arrow Video, and we wish to thank Alasdair Bayman, Louise Buckler and Cameron Waaler for their assistance in securing these video materials for use in this issue.
The trailer for I am Monsters! (2023) reproduced in the filmed interview between Xavier Mendik and Nicholas Vince is courtesy of Arrow Films, and we wish to thank Nicolas Vince for their securing the video materials for use in this issue.
The images of The Exorcist (1973) and The Omen (1976) reproduced in the article ‘A Restoration of 'the Symbolic Order?': The Priest as Faux Father and the Threat of the Unruly Child in 1970s American Horror Cinema’ are courtesy of the Alamy collection and are reproduced here under licence.
The images from Hocus Pocus (1983) and Hocus Pocus 2 (2022) reproduced in the article ‘'The Witches are Back!': Reframing the Witch and Abjection from Hocus Pocus (1993) to Hocus Pocus 2 (2022)’ are courtesy of the Alamy collection and are reproduced here under licence.
The image reproduced in the book review of Barbara Creed’s The Monstrous-Feminine: Film, Feminism, Psychoanalysis, 2nd edition (2023) is courtesy of Taylor & Francis Group Limited.
The images from Old Fox (2023) and Takano Tofu (2023) reproduced in the review of the Far East Film Festival 2024 were provided by the organisation in the spirit of publicity and for the promotion of the films in question.
The image reproduced in the book review of Heidi Honeycutt’s I Spit on Your Celluloid: The History of Women Directing Horror Movies (2024) is courtesy of Headpress Publishing, and we wish to thank Dr Jennifer Wallis for her assistance with sourcing this illustration.
The images from Ginger Snaps (2000) reproduced in the article ‘The Monstrous-Feminine: Radical Abjection and Transformation’ are courtesy of Second Sight Films, and we wish to thank Philip Escott for his assistance in securing permission to use these materials. Additionally, the images from Revenge (2016) also used in this article are courtesy of the Alamy collection and are reproduced here under licence.
The trailer for The Devil’s Work (2023) reproduced in the filmed interview between Barbara Creed and Ursula Dubrowsky is courtesy of Demon Girl Productions, and we wish to thank Sue Brown for her assistance in securing these video materials for use in this issue.
The images of M3GAN (2023) used in the article ‘Domestic AI is the New Monstrous-Feminine: Compulsory Roles for Robot-Girls and Mothers in M3GAN (2023)’ are courtesy of the Alamy collection and are reproduced here under licence.
The images of Raw (2016) used in the article ‘You Are What You Eat: Vegetarianism and Cannibalism in Julia Ducornau's Raw (2016)’ are courtesy of the Alamy collection and are reproduced here under licence.
The images of Hellraiser (1987) and Hellbound: Hellraiser II (1988) used in the article ‘Transforming the AIDS Monster: Tearing Apart the Human(e) in Hellraiser and Hellbound: Hellraiser II Through Gothic Becoming-Withs’ are courtesy of Arrow Films and we wish to thank Alasdair Bayman, Louise Buckler and Cameron Waaler for securing these images for use in this issue.
The trailer for Hellraiser (1987) reproduced in the filmed interview between Paul McEvoy and Doug Bradley is courtesy of Arrow Video, and we wish to thank Alasdair Bayman, Louise Buckler and Cameron Waaler for their assistance in securing these video materials for use in this issue.
The trailer for I am Monsters! (2023) reproduced in the filmed interview between Xavier Mendik and Nicholas Vince is courtesy of Arrow Films, and we wish to thank Nicolas Vince for their securing the video materials for use in this issue.
The images of The Exorcist (1973) and The Omen (1976) reproduced in the article ‘A Restoration of 'the Symbolic Order?': The Priest as Faux Father and the Threat of the Unruly Child in 1970s American Horror Cinema’ are courtesy of the Alamy collection and are reproduced here under licence.
The images from Hocus Pocus (1983) and Hocus Pocus 2 (2022) reproduced in the article ‘'The Witches are Back!': Reframing the Witch and Abjection from Hocus Pocus (1993) to Hocus Pocus 2 (2022)’ are courtesy of the Alamy collection and are reproduced here under licence.
The image reproduced in the book review of Barbara Creed’s The Monstrous-Feminine: Film, Feminism, Psychoanalysis, 2nd edition (2023) is courtesy of Taylor & Francis Group Limited.
The images from Old Fox (2023) and Takano Tofu (2023) reproduced in the review of the Far East Film Festival 2024 were provided by the organisation in the spirit of publicity and for the promotion of the films in question.
The image reproduced in the book review of Heidi Honeycutt’s I Spit on Your Celluloid: The History of Women Directing Horror Movies (2024) is courtesy of Headpress Publishing, and we wish to thank Dr Jennifer Wallis for her assistance with sourcing this illustration.
This edition of the Cine-Excess journal was funded by the Birmingham Centre for Media and Cultural Research at Birmingham City University, and we wish to thank Dr Nick Webber for his support with the development of the publication.