Alexandra Heller-Nicholas and Alison Peirse would like to thank of all their contributors, peer reviewers and Cine Excess journal staff, for all of their hard work on this special issue.
Alison Peirse would like to thank the AHRC for funding her time on this project, as part of her Research, Development and Engagement Fellowship on Feminist Horror Cinema (project reference AH/W000105/1).
The stills reproduced from the film Tenebrae that feature in the article ‘Hybridity and Transgression: The Archi-Sexual Politics of Dario Argento’s Cinema’ are courtesy of Arrow Films, and we offer thanks to Cameron Waaler and the company for allowing us to use them here.
The images reproduced from Providence that feature in the article ‘Voyeurism and Disruptive Sexuality in Alan Moore and Jacen Burrows’ Providence are courtesy of Alan Moore and Jacen Burrows, and we offer thanks to them for allowing us to use them here.
The image reproduced from Possession that features in ‘“The World is Only What It Is”: A Roundtable Discussion on Possession (1981)’ is courtesy of Devil’s Advocates book series, part of Liverpool University Press, and we offer thanks to the company for allowing us to use them here.
The film images reproduced from Our First Priority and The Co-Op that feature in ‘One of Us: A Roundtable Discussion about Disability and Horror, Identity and Community’ are courtesy of their filmmakers, Ariel Baska and Cameron Michael, respectively, and we offer thanks to them for allowing us to use them here.
The film image reproduced from Revenge of the Pontianak that features in ‘Banana Trees and Bloodbaths: The Pontianak as a Disruptive Post-Colonial Feminist Body – An Interview with Rosalind Galt’ is courtesy of Tiger Tiger Pictures, and we offer thanks to the company for allowing us to use them here.
The remainder of the images contained within this edition of the journal are the property of the production and distribution companies concerned. They are reproduced here in the spirit of publicity and the promotion of the films in question.
Alison Peirse would like to thank the AHRC for funding her time on this project, as part of her Research, Development and Engagement Fellowship on Feminist Horror Cinema (project reference AH/W000105/1).
The stills reproduced from the film Tenebrae that feature in the article ‘Hybridity and Transgression: The Archi-Sexual Politics of Dario Argento’s Cinema’ are courtesy of Arrow Films, and we offer thanks to Cameron Waaler and the company for allowing us to use them here.
The images reproduced from Providence that feature in the article ‘Voyeurism and Disruptive Sexuality in Alan Moore and Jacen Burrows’ Providence are courtesy of Alan Moore and Jacen Burrows, and we offer thanks to them for allowing us to use them here.
The image reproduced from Possession that features in ‘“The World is Only What It Is”: A Roundtable Discussion on Possession (1981)’ is courtesy of Devil’s Advocates book series, part of Liverpool University Press, and we offer thanks to the company for allowing us to use them here.
The film images reproduced from Our First Priority and The Co-Op that feature in ‘One of Us: A Roundtable Discussion about Disability and Horror, Identity and Community’ are courtesy of their filmmakers, Ariel Baska and Cameron Michael, respectively, and we offer thanks to them for allowing us to use them here.
The film image reproduced from Revenge of the Pontianak that features in ‘Banana Trees and Bloodbaths: The Pontianak as a Disruptive Post-Colonial Feminist Body – An Interview with Rosalind Galt’ is courtesy of Tiger Tiger Pictures, and we offer thanks to the company for allowing us to use them here.
The remainder of the images contained within this edition of the journal are the property of the production and distribution companies concerned. They are reproduced here in the spirit of publicity and the promotion of the films in question.