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 Notes Preface . I continue to employ this method in my initial viewings of horror movies. I remain terrified at the first viewing; it is the second viewing that gives me power, a sense of control over my emotions along with an ability to see the construction and seams of the film itself. The advent of the director’s commentary on DVDs has only aided this process. . Yes, I was a womanish enough seven-year-old to use the word “heck” correctly. . I believe my older cousin Lee had a strange fixation on terrifying me— as older boy cousins/play brothers are wont to do with their annoying younger girl cousins/play sisters—and introduced me to the campier and far scarier Return of the Living Dead (1985–) series before my aunts rectified the situation by initiating my love for zombies by introducing me to George Romero, writer and director of Night of the Living Dead (1968). . Sanaa Lathan’s character in AVP, Alexa Woods, is the only human survivor and teams up with the surviving Predator to defeat the Alien Queen and her minions. . The infected—the contagious peoples of the apocalypse in 28 Days Later—are often mistakenly referred to as zombies. I am not so much of a zombie purist that I can’t identify Boyle’s contemporary reimagining of the human fear of contagion. His revised zombies are living beings infected with the dangerous virus named Rage. . The circumstance of Michonne’s rape remains a controversial story arc in Robert Kirkman’s comic book series. Michonne and two other (male)  Notes to Pages xiii–5 members of her group are captured by a rival faction of survivors and tortured for information on their group’s location and supply status. . The Vampire Huntress Legend series (2003–2009). Introduction . The other genre is comedy. . Isabel Cristina Piñedo, Recreational Terror: Women and the Pleasures of Horror Film Viewing (New York: State University of New York Press, 1997), 31. . Cheryl Wall presents the concept of “worrying the lines” as a framework for reading African diasporic women’s literature in that it is “inevitably a trope for repetition with difference. . . . [It] locates black women’s writing in relation to the multiple literary traditions that inform it. . . . By rewriting or reading the dominant story, and delegitimating or displacing that story, black women inscribe their own.” Cheryl W. Wall, Worrying the Line: Black Women Writers, Lineage, and Literary Tradition (Chapel Hill: University of North Carolina Press, 2005), 16. . Piñedo, Recreational Terror, 17. . Ibid., 18. . Ibid. . Ibid., 17. . Ibid. . Ibid. . Art-horror is directly opposed to what Carroll defines as natural horror, which he believes consists of the horrific actions society commits against itself, such as slavery, genocide, and war. . Much of contemporary theory makes this very same mistake. Most bookstores and other cultural markers refer to the subgenres together with the shaky use of grammatical slashes to highlight their differences, such as science fiction/fantasy/horror. I myself have been guilty of this particular notion, teaching courses with titles such as “Black Women in Science Fiction/Fantasy/Horror.”Wall, Worrying the Line. . Noël Carroll, The Philosophy of Horror: Or, Paradoxes of the Heart (New York: Routledge, 1990), 27. . Ibid., 28–29. Notes to Pages 5–7  . Robin Wood, “The American Nightmare: Horror in the 70s,” in Horror, The Film Reader, ed. Mark Jancovich (New York: Routledge, 2001), 26. . Dawn of the Dead (2004) is not one of the primary texts in this piece. It is used as an exemplar of the major barriers to black women in zombie horror—in particular, the presence and complicated characterizations of black female characters. Eight years later, Snyder’s remake remains the highest-grossing zombie film of all time ( . See Michael Newbury, “Fast Zombie/Slow Zombie: Food Writing, Horror Movies, and Agribusiness Apocalypse,” American Literary History 24, no. 1: 87‒114, 89. . Dawn of the Dead is not the only guilty party here. It proves useful because it is well known and the most contemporary example of my critical examinations at the time of writing. . The trope of the competent black male survivor who often aims to become a leader of the group emerged in George Romero’s Night of the Living Dead (1968) with Duane Jones’s Ben. See Adam Lowenstein’s “Living Dead: Fearful Attractions of Film” (2010), Annalee Newitz’s Pretend We’re Dead (2006), and Kim Paffenroth’s Gospel of the Living Dead: George Romero’s Visions of Hell...


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