The Intersection of Horror and Feminism: Eleanor Johnson’s Insightful New Book

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If art serves as a reflection of societal issues, then few mediums are as compellingly fitted to mirror the struggles of women in contemporary America as classic horror films. This provocative stance is explored in depth by Eleanor Johnson, a professor at Columbia University, in her new book, Scream With Me: Horror Films and the Rise of American Feminism 1968–1980 (Atria Books). Johnson meticulously examines how six seminal horror films—Rosemary’s Baby, The Exorcist, The Stepford Wives, The Omen, Alien, and The Shining—correlate with pressing real-world issues, such as domestic violence, bodily autonomy, and the systemic oppression of women. Through her analysis, she provokes viewers to confront the terrifying realities these films present.

An Insightful Conversation with Eleanor Johnson

We had the opportunity to sit down with Johnson to discuss her illuminating exploration of horror cinema and its sociopolitical implications.

Vogue: What initially inspired you to write this book?

Eleanor Johnson: My passion for this topic began when I taught Rosemary’s Baby in a history-of-horror class. The core theme of the film revolves around a woman’s reproductive autonomy, particularly poignant given its 1968 New York setting, when abortion was illegal. A specific moment in the film hints at the realities many women faced then regarding unsafe abortions. I argued that the horror in Rosemary’s Baby fundamentally lies in the denial of reproductive freedom. Just days after I articulated this in class, the Supreme Court leaked its decision to reverse Roe v. Wade. It struck me then that we are experiencing a feminist emergency in this country.

The Uniqueness of Horror as an Artistic Reflection

Vogue: Your focus on horror films over novel adaptations is intriguing, especially as a literature professor. Why did you choose film?

Eleanor Johnson: Movies create a particular dynamic with their audiences. For instance, during a viewing of Rosemary’s Baby in 1968, a male spectator may interpret the film through the lens of satanism and witchcraft without recognizing the underlying themes of coercive control and reproductive violence that might terrify a woman seated beside him. Horror exemplifies how art can both reflect and accelerate social change, serving as a live laboratory for cultural anxieties. This dynamic intensity made films the ideal medium for my analysis.

The Dichotomy of Gender Representation in Horror

Vogue: Your analysis of The Shining critically highlights the stark differences between Stephen King’s book and Stanley Kubrick’s film. Wendy, as portrayed by Shelley Duvall, is notably diminished in the film compared to her literary counterpart. How do we reconcile the often problematic depiction of women by influential male filmmakers?

Eleanor Johnson: It’s indeed a complex paradox. For instance, in Ira Levin’s novels like Rosemary’s Baby and The Stepford Wives, he advocates for women’s rights, only to have his films directed by predatory figures like Roman Polanski. Remarkably, many male directors have a disturbing ability to capture women’s vulnerability, often at significant emotional costs to the actresses involved. Duvall, in particular, has discussed the long-lasting effects Kubrick’s directing had on her mental health.

A Timely Rebirth of Classic Horror

Vogue: The resurgence of these films during a time of renewed threats to women’s rights has not gone unnoticed. What does this signify to you?

Eleanor Johnson: The release of three reboots of these classic films in 2024, occurring shortly after the reversal of Roe v. Wade, is not coincidental. These reboots—Immaculate, The First Omen, and Apartment 7A—makers have actively sought to infuse these narratives with contemporary political significance. Women directors now have the opportunity to reinterpret these legacy narratives through a lens that emphasizes women’s autonomy and agency, highlighting the real-world issues they symbolize.

Empowering Through Storytelling

Vogue: Why do horror movies effectively communicate the critical discourse of women’s rights compared to direct dialogues about these injustices?

Eleanor Johnson: Generally speaking, people are more receptive to storytelling than lectures. Art functions as a meditative space that encourages viewers to connect empathetically with protagonists and engage with their struggles. By experiencing these narratives, audiences are invited to confront terrifying realities without feeling directly lectured—a dynamic that makes the message of women’s rights resonate more profoundly.

Confronting the Paradoxes in Horror Cinema

Vogue: Your analysis of The Omen presents a nuanced view of male intentions—Robert Thorn believes he is acting in his wife’s best interests but ultimately strips her agency. What does this reflect about the notion of ‘benign’ patriarchy?

Eleanor Johnson: The Omen uniquely challenges the portrayal of abusive men by highlighting the dangers posed by ostensibly “good” men who believe they know what’s best for women. Gregory Peck’s character embodies a patriarchal perspective that ultimately suffocates his wife’s truth, illustrating the insidiousness of such benign oppression.

Redefining Female Strength in Modern Horror

Vogue: You’ve included Alien in your analysis, recognizing Sigourney Weaver’s character, Ellen Ripley, as a trailblazing ‘final girl.’ How do we strike a balance between the mythical female warriors and the reality women face?

Eleanor Johnson: Alien is remarkable because Ripley’s actions show that survival isn’t solely about physical strength; it’s also about keen tactical awareness and adherence to protocol. It’s a common trap in horror to portray women as mythic figures, yet rather than that, Ripley serves as a pragmatic and relatable character. Her empowerment model demonstrates that everyday decisions, when taken seriously and acted upon, can make a significant difference.

The Role of Contemporary Horror in Addressing Injustice

Vogue: How do you envision future horror films playing a role in highlighting women’s current injustices?

Eleanor Johnson: Future films must focus on creating compelling female protagonists, inviting viewers to empathize with the realities women face. This recognition can shift broader societal perceptions, making it clear that women’s safety and rights are issues that concern everyone—not just women. Art is uniquely positioned to help create that understanding and encourage constructive dialogue about gender-based oppressions.

Reflecting on Progress and Finding Hope

Vogue: As we look forward, what gives you hope amidst the grim realities facing women’s rights today?

Eleanor Johnson: Despite the regressive shifts many institutions have undergone, art remains a reliable vessel for advocacy and change. History has shown that narrative how individuals experience art significantly shapes cultural movements. As we confront the deteriorating state of legal protections for women, I firmly believe our collective creativity serves as a powerful tool for social change. Art can galvanize communities and spark meaningful dialogue that may, ultimately, lead to progress.

This conversation has been edited and condensed for clarity.

For more insights and analysis on the intersection of horror and feminism, be sure to check out Scream With Me: Horror Films and the Rise of American Feminism 1968–1980 by Eleanor Johnson, now available for purchasing online.