Cover
Title
Copyright
Contents
List of Figures
Acknowledgements
Prologue
1. Horror is Queer: Theoretical and Ontological Foundations
Queer Identity and Community
The Ontological Queerness of Film and the Horror Genre
Queer Theory, Queerness and Queer Scholarship
Centring Queers and Queerness in Horror Studies
A Note on Statistics
2. Portrait of a Queer Horror Fan: the Opinions, Habits and Tastes of the Queer Spectator
Queer Heterogeneity and Consensus
Gender and Sexual Orientation Diversity of Queer Spectators
Racial/Ethnic Identifications

Educational Attainment and Age
The Othered Lens of Queerness
Monsters, Victims and the Final Girl
Women and Queers Represented in Horror
Fan Status of Queer Spectators
Childhood Introduction to Horror
Horror as Interpersonal Connection
Queer Spectators' Horror Genre Knowledge
Queer Identities and Identifications as Queer
Queer Horror Spectators Compared with Female Horror Fans
Non-Cinematic Modes of Horror Consumption
Queer Spectators and International Horror
Cinemagoing and Queer Spectators
Horror Habits Beyond Film Spectatorship

Violence, Gore and Tension
Horror Subgenres
The Favourite Horror Films of Queer Spectators
Summarising the Queer Spectator of Horror Film
3. Trauma and Camp: Queer Connections to Horror
Queer Trauma, the Horror Genre and Traumatic Expressions
Evidencing Queer Trauma, Affect and Catharsis
The Camp Relationship to Horror
Evidentiary Data on Queerness, Camp and Horror
Camp Laughter as a Trauma Processor
4. Drag Me to Hell: Queer Performance and Live Cinema
Establishing Queer Performance as Live Cinema
The Phenomenology of Queer Live Cinema

The Cult of Queer Live Cinema
Drag as Queer Performance and Drag Performers as Horror Hosts
Midnight Mass with your Hostess Peaches Christ
Welcome to Queer Horror
When Live Cinema Becomes a Significant Queer Event
Evidencing Queer Live Cinema with Empirical Data
Film as the Cinematic Church of Queer Community and the Future of Queer Live Cinema
Conclusion
Appendix
Oral History Bibliography
Works Cited
Notes