Review of Scream With Me: Horror Films and the Rise of American Feminism by Sarah Johnson (ARC)
When I first caught a glimpse of Sarah Johnson’s upcoming book, Scream With Me: Horror Films and the Rise of American Feminism, I felt an immediate spark of excitement. A graduate of Columbia’s impressive creative writing programs, Johnson’s sharp insights were enough to reel me in. The idea of examining influential horror films through the lens of the women’s movement really struck a chord. It made me reflect on how these films, often dismissed as mere entertainment, carry deeper social significance that’s been begging to be explored. And let me tell you: this book did not disappoint! I mean, who wouldn’t want to dive into the complexities of Rosemary’s Baby and The Exorcist?
Johnson centers her exploration around six seminal horror films released between 1968 and 1980: Rosemary’s Baby, The Exorcist, The Stepford Wives, The Omen, Alien, and The Shining. With each chapter focused on a different movie, she skillfully weaves a narrative that connects these films to the evolving conversation around feminism in America. Each analysis is a rich tapestry of cultural critique and personal reflection. For instance, while I anticipated her bases for discussing The Stepford Wives and Alien, I was intrigued to read her rationale for including The Omen. I never considered how its themes of power and manipulation could be seen through a feminist lens.
Johnson’s writing style is both accessible and thought-provoking; she balances thorough analyses with a conversational tone that makes complex ideas digestible. The pacing flows well, perfectly matching the rhythm of the films she covers. For anyone familiar with the genre’s clichés, her fresh perspective is invigorating. I particularly appreciated her insights into what she terms the "bad men who make good horror movies," as she tackles the messy shadows cast by directors like Polanski—unpacking how their personal failings don’t diminish the artistry of their work, but complicate it.
A standout moment for me was her deep dive into Women Talking, which she ingeniously frames as the "first domestic horror of the 2020s." Despite its classification straddling drama and horror, Johnson posits that the film’s real dread lies in its true-to-life narrative of marginalized women’s struggles against patriarchal oppression. It’s a reminder that horror is not always about monsters; sometimes it’s about the real monsters lurking in our lives.
Johnson doesn’t stop there—she also highlights contemporary films that echo these themes, like Creep and Immaculate, nudging readers to consider how horror is evolving in the feminist dialogue. This aspect struck a personal note as I reflected on my own movie-watching habits (hello, Creep 2—it’s now on my radar!).
Scream With Me is well poised to resonate with a broad audience, from horror enthusiasts to those engaged in feminist theory. If you’ve ever found yourself analyzing a film and wondering “what does this mean in a larger context?” I promise this book will be your new favorite companion. The reading experience was not just an examination of film; it was a rich exploration of cultural identity and feminist discourse that dubbed me both a wiser viewer and a more informed participant in ongoing societal conversations.
So, if you’re looking for a book that can both entertain and challenge your perceptions, put a bookmark on September 30, 2025. Sarah Johnson’s work is set to leave a mark, and I will be eagerly recommending it to everyone—from your friend who binge-watches horror movies to your book club that loves to delve into deeper topics. It’s a read you won’t want to miss!
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