in the flesh

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“Horror in the Age of Weinstein and Trump”
Ax Wound Film Festival
Brattleboro, VT, November 2017

Presented an interactive talk on resistance and politics in horror filmmaking in light of the one-year anniversary of Trump’s election and the then-emerging allegations about Harvey Weinstein and other major male players in the Hollywood system. Films discussed included Candyman, People Under the Stairs, God Told Me To and Starry Eyes as well as a follow-up discussion. This presentation was part of Ax Wound, a film festival focusing on short independent horror films by female filmmakers.


Black Museum Debate: Final Girl Face-off
Presented by The Black Museum
The Royal Cinema, Toronto, ON, November 2017

Participated in an on-stage debate panel in front of a crowd, presented by the horror lecture series The Black Museum. The topic: Who is the best Final Girl of all time in horror cinema? My debate partner and I chose Thomasin from Robert Eggers’ 2016 film The Witch. A controversial and heated choice to be sure – we came in 2nd after a tie-breaker to Nancy from Nightmare on Elm Street.


Living Dead Girls: A Look at Feminist Revenge and Queerness in Bride of Chucky
Presented by Queer Fear Film Series
The Royal Cinema, Toronto, ON, August 2017

Participated in a post-Bride of Chucky screening discussion on intersectionality and the slasher cycle in the Child’s Play franchise as part of Queer Fear, a horror film series in Toronto that focuses on LGBTQI themes in horror.

One of Us: The Transcendent Rise of Religious Cults in Horror
Presented by The Black Museum
The Royal Cinema, Toronto, ON, May 14, 2014

I presented a two-hour multimedia lecture on religious cults in modern horror films for Toronto's pre-eminent horror lecture series, The Black Museum. From Satanists to Scientologists, Moonies to the Manson Family, a collective fascination with cult ephemera persists. But how do cinematic portrayals compare to the real thing? I looked at depictions in films both infamous (THE WICKER MAN, 1973) and lesser-known (TICKET TO HEAVEN, 1981), to see how they hold up against accounts from actual cults of the 21st century. I argued  that cult imagery and content in popular media serve as reflection or commentary on wider moral, sexual and religious politics at the time of their release.. By session’s end, I managed to bring the audience over to my point of view and espouse the correct belief: cult is forever.