A visual exploration of female neurosis in horror films

A visual exploration of female neurosis in horror films
Through stills, anecdotes and film criticism, a new book examines the portrayal of women’s destructive emotions, reframing it as a challenge to patriarchal structures.

“Every movie you like has some crazy woman in it,” Kier-La Janisse remembers being told by customers at the video store where she worked. After a friend said the same, Janisse began keeping a log of horror and exploitation films focusing on harrowing stories of female psychosis. 

Buried within those stories, Janisse had one of her own, one that she weaves to spellbinding effect in the extraordinary House of Psychotic Women (FAB Press). First published in 2012, the book was a masterful topography of the space where memoir, psychology, and film criticism merge, paving the way for the cross-pollination of literary genres so popular today.  

Now expanded, the book brings together hundreds of groundbreaking, cult, and obscure films from all around the globe including Carrie, Christiane F., Virgin Suicides, I Spit on Your Grave, and Whatever Happened to Baby Jane? in a spellbinding look at female neurosis driven past the point of no return. 

Still from Midnight Swim (2014)

Janisse began the project searching for rare films she wanted to champion but soon realised that when taken together, the movies formed a revelatory understanding of the collective and individual female psyche. Although she did not initially set out to explore her own trauma, the process of attaching certain films to her memories proved a revelation of its own.

“When faced with ‘crazy’ behaviour in real life we just want to get away from it, but when it’s a character in a film we want to investigate, we want to witness it up close,” Janisse says. She notes the ways in which horror creates a space for catharsis, compassion, and empathy. 

“Horror films present an amplified version of reality, a worst-case-scenario but they are still ultimately about the same things that a drama, or an action film or a comedy would be,” says Janisse. “But that horror framework allows for very extreme situations and emotions. It makes space for everything you want to say that’s too dangerous in other contexts.”

Still from The Other Side of the Underneath (1972)

Still from Sun Choke (2015)

Janisse sees this framework in horror, made-for-TV movies, and soap operas – all genres that have been labeled “low” by the predominantly white cis, heteronormative powerbrokers. Interestingly, these are also gendered female for the audiences they attract, who feel some sort of connection to the protagonist whether she is ultimately “unreliable” or empowered. 

“I have found it empowering to see repressed energies being let loose, to see women raging, screaming, fighting back against their own demons,” says Janisse. “But I think this empowerment is felt most in the way it seeps into the community as a whole, when female audience members talk about them afterwards.”

House of Psychotic Women speaks to the power of the “unhinged woman”, a figure that stands against the patriarchy. “There’s a lot of people trying to put women in their place right now and a drive to control women’s bodies,” says Janisse. “I relate a definition of ‘hysteria’ in my book as ‘the bodily manifestation of unspeakable distress’, and the image of the hysterical woman – once a source of shame – has become an empowering image in its defiance of social respectability.”

Still from The Other Side of the Underneath

Still from Braid, 2018

Still from I Like Bats, 1986

Still from Stylist (2020)

Still from Il Demonio (1963)

Still from The Driver Seat (1974)

Film poster, I Like Bats (1986)

Still from The Driver’s Seat, 1974

Still from Honeycomb (2022)

Still from Il Demonio (1963)

House of Psychotic Women is available now on FAB Press.

Enjoyed this article? Follow Huck on Twitter or Instagram

Latest on Huck

The party starters fighting to revive Stonehenge’s Solstice Free Festival
Huck Presents

The party starters fighting to revive Stonehenge’s Solstice Free Festival

Free the Stones! delves into the vibrant community that reignites Stonehenge’s Solstice Free Festival, a celebration suppressed for nearly four decades. 

Written by: Laura Witucka

Hypnotic Scenes of 90s London Nightlife
Photography

Hypnotic Scenes of 90s London Nightlife

Legendary photographer Eddie Otchere looks back at this epic chapter of the capital’s story in new photobook ‘Metalheadz, Blue Note London 1994–1996’

Written by: Miss Rosen

The White Pube: “Artists are skint, knackered and sharing the same 20 quid”
Culture

The White Pube: “Artists are skint, knackered and sharing the same 20 quid”

We caught up with the two art rebels to chat about their journey, playing the game that they hate, and why anarchism might be the solution to all of art’s (and the wider world’s) problems.

Written by: Isaac Muk

The Chinese youth movement ditching big cities for the coast
Photography

The Chinese youth movement ditching big cities for the coast

In ’Fissure of a Sweetdream’ photographer Jialin Yan documents the growing number of Chinese young people turning their backs on careerist grind in favour of a slower pace of life on Hainan Island.

Written by: Isaac Muk

The LGBT Travellers fundraising for survival
Activism

The LGBT Travellers fundraising for survival

This Christmas, Traveller Pride are raising money to continue supporting LGBT Travellers (used inclusively) across the country through the festive season and on into next year, here’s how you can support them.

Written by: Percy Henderson

The fight to save Bristol’s radical heart
Activism

The fight to save Bristol’s radical heart

As the city’s Turbo Island comes under threat activists and community members are rallying round to try and stop the tide of gentrification.

Written by: Ruby Conway

Sign up to our newsletter

Issue 81: The more than a game issue

Buy it now