{"id":2364,"date":"2026-06-15T10:51:50","date_gmt":"2026-06-15T18:51:50","guid":{"rendered":"https:\/\/consortiumlibrary.org\/blogs\/reference\/?p=2364"},"modified":"2026-06-12T12:23:58","modified_gmt":"2026-06-12T20:23:58","slug":"horror","status":"publish","type":"post","link":"https:\/\/consortiumlibrary.org\/blogs\/reference\/2026\/06\/15\/horror\/","title":{"rendered":"Have you seen Obsession and Backrooms? Explore the horror genre further!"},"content":{"rendered":"<p>Two horror movies were released in close succession this summer and both have been sparking conversation &#8211; Obsession and Backrooms.<\/p>\n<p>Obsession, directed by Curry Barker and starring Inde Navarrette, explores what happens when a man who is infatuated with his friend wishes that she would love him more than anyone in the world &#8211; and has that wish granted. Even if you haven&#8217;t seen the film, you can imagine\u00a0 how horribly awry things go from there. The film explores the way that gender dynamics, power, and control of romantic partners intersect.<\/p>\n<p>Read more about the portrayal and exploration of gender in the horror genre with these articles (be sure to be logged in for off-campus access or connected to UAA WiFi!):<\/p>\n<ul>\n<li><a href=\"https:\/\/www.tandfonline.com\/doi\/full\/10.1080\/14797585.2023.2218629\">\u2018\u201cDo you feel held?\u201d: Gender, Community, and Affective Design in Midsommar\u2019<\/a> by Cary Elza<\/li>\n<li><a href=\"https:\/\/www.tandfonline.com\/doi\/full\/10.1080\/15401383.2025.2546336\">Gender and Mental Health in Possession Film: A European and North American Portrait<\/a> by Maria Gil Poisa<\/li>\n<li><a href=\"https:\/\/www.proquest.com\/docview\/3307268309?pq-origsite=summon&amp;accountid=14473&amp;sourcetype=Dissertations%20&amp;%20Theses\">The Horrors Persist, But so Do We: A Feminist Rhetorical Critique of Patriarchal Hauntings in Contemporary Horror Cinema<\/a> by Crystal R. Orellano<\/li>\n<\/ul>\n<p>Backrooms, directed by Kane Parsons and starring Chiwetel Ejiofo, follows a man living in a furniture store who discovers a portal into a seemingly endless liminal space. The film was based on a web series created by Parsons which was based on &#8220;<a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Backrooms\">the Backrooms<\/a>&#8221; creepypasta. (<a href=\"https:\/\/en.wikipedia.org\/wiki\/Creepypasta\">Creepypasta<\/a> is a term used to describe user-generated horror stories that are shared through online platforms, like chatrooms, videos, and forums.) Read more with these articles and books:<\/p>\n<ul>\n<li><a href=\"https:\/\/www.proquest.com\/docview\/3275487533?accountid=14473&amp;pq-origsite=summon&amp;sourcetype=Dissertations%20&amp;%20Theses\">Analog Horror and the Internet: The Mandela Catalogue and the Uncanny Reality of Mediation<\/a> by Emma Eleanor Jones Culver<\/li>\n<li><a href=\"https:\/\/anch.ent.sirsi.net\/client\/en_US\/uaa\/search\/detailnonmodal\/ent:$002f$002fSD_ILS$002f0$002fSD_ILS:2932128\/one?qu=%222932128%22&amp;te=ILS&amp;rt=false%7C%7C%7CDOC_ID%7C%7C%7Cfalse\">The Creepypasta collection : modern urban legends you can&#8217;t unread<\/a> edited by MrCreepyPasta<\/li>\n<li><a href=\"https:\/\/www.jstor.org\/stable\/27258714?seq=1\">The Emotion of Dread in Cinematic Horror<\/a> by Matthias De Bondt<\/li>\n<\/ul>\n<p>Both films are part of a new movement in horror that is shifting the way that horror is evoked and expressed (and both directors are in their 20s!). You can explore more with this ebook, <a href=\"https:\/\/www.jstor.org\/stable\/10.3366\/j.ctv1c29rk1\"> Post-Horror: Art, Genre and Cultural Elevation<\/a> by David Church.<\/p>\n<p><a href=\"https:\/\/consortiumlibrary.org\/blogs\/reference\/files\/2026\/06\/post-horror-art-genre-and-cultural-elevation-pdfepub-version-wv8np-4180113359.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-2369\" src=\"https:\/\/consortiumlibrary.org\/blogs\/reference\/files\/2026\/06\/post-horror-art-genre-and-cultural-elevation-pdfepub-version-wv8np-4180113359.jpg\" alt=\"Post-Horror book cover\" width=\"212\" height=\"318\" srcset=\"https:\/\/consortiumlibrary.org\/blogs\/reference\/files\/2026\/06\/post-horror-art-genre-and-cultural-elevation-pdfepub-version-wv8np-4180113359.jpg 333w, https:\/\/consortiumlibrary.org\/blogs\/reference\/files\/2026\/06\/post-horror-art-genre-and-cultural-elevation-pdfepub-version-wv8np-4180113359-200x300.jpg 200w\" sizes=\"auto, (max-width: 212px) 100vw, 212px\" \/><\/a><\/p>\n<p>If you&#8217;re interested in learning more about the horror genre or any other topic, <a href=\"https:\/\/ask.consortiumlibrary.org\/\">get in touch with us at the Information and Research Help Desk<\/a> &#8211; we&#8217;re always happy to help!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Two horror movies were released in close succession this summer and both have been sparking conversation &#8211; Obsession and Backrooms. Obsession, directed by Curry Barker and starring Inde Navarrette, explores what happens when a man who is infatuated with his friend wishes that she would love him more than anyone in the world &#8211; and [&hellip;]<\/p>\n","protected":false},"author":287,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2364","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/consortiumlibrary.org\/blogs\/reference\/wp-json\/wp\/v2\/posts\/2364","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/consortiumlibrary.org\/blogs\/reference\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/consortiumlibrary.org\/blogs\/reference\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/consortiumlibrary.org\/blogs\/reference\/wp-json\/wp\/v2\/users\/287"}],"replies":[{"embeddable":true,"href":"https:\/\/consortiumlibrary.org\/blogs\/reference\/wp-json\/wp\/v2\/comments?post=2364"}],"version-history":[{"count":8,"href":"https:\/\/consortiumlibrary.org\/blogs\/reference\/wp-json\/wp\/v2\/posts\/2364\/revisions"}],"predecessor-version":[{"id":2376,"href":"https:\/\/consortiumlibrary.org\/blogs\/reference\/wp-json\/wp\/v2\/posts\/2364\/revisions\/2376"}],"wp:attachment":[{"href":"https:\/\/consortiumlibrary.org\/blogs\/reference\/wp-json\/wp\/v2\/media?parent=2364"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/consortiumlibrary.org\/blogs\/reference\/wp-json\/wp\/v2\/categories?post=2364"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/consortiumlibrary.org\/blogs\/reference\/wp-json\/wp\/v2\/tags?post=2364"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}