Werewolf of London (Walker, 1935) depicts a man struggling, unsuccessfully, to control urges that would make him an outlaw in society at large and especially, the film makes clear, in his already troubled marriage. The film transforms the werewolf legend (in large measure by
infusing it with liberal doses of botany) to create a portrait of a werewolf as a gay man, to represent homosexuality as a form of gender inversion, and to explore the horrors of being a gay man living in a violently repressive society.
Horror Studies intends to serve the international academic community in the humanities and specifically those scholars interested in horror. Exclusively examining horror, this journal will provide interested professionals with an opportunity to read outstanding scholarship from a variety of disciplinary perspectives, including work conceived as interdisciplinary. By expanding the conversation to include specialists concerned with diverse historical periods, varied geography, and a wide variety of expressive media, this journal will inform and stimulate anyone interested in a wider and deeper understanding of horror