Sunset With Chainsaw

In the new Film Quarterly, my most fleshed-out statement yet on what the links between horror, communism, lens flares, wallpaper, and camera movement may be, with particular attention to House, Night of the Hunter and Texas Chainsaw Massacre.  More generally, an attack on the still-dominant mode of "reading horror politically"  (i.e. content allegorization, i.e. who's doing what to whom with what kind of knife on what kind of staircase, and is it "reactionary" or not?) and part of my larger work on communism and form.  To be found here.