Registration

CURRICULUM + REGISTRATION

For Spring of 2021, Miskatonic will host online classes for all three of its branches. These online classes will not be geoblocked so students from anywhere in the world can mix and match individual classes from different branches (please note the time zone will be local to that branch), or buy a full semester pass to a specific branch. Branches are designated in the event titles as (London online), (LA online) or (NYC online). Please note these are live events – they cannot be downloaded and watched later, so please be sure you are available at the time and timezone the classes are being offered in before registering.

Once you purchase tickets/passes, the ticketing system (Eventbrite for US tickets/passes and Global passes, Billeto for UK tickets/passes) will automatically send you a confirmation email that contains all the relevant links to register for each class on Zoom.

REGISTRATION FEES:

Each Miskatonic location has its own pricing structure and method of registration.

Global Pass
The Global pass gives you access to ALL classes at each of the three branches. This 15-class global semester pass includes all monthly classes curated by Miskatonic London, LA and NYC and available to watch worldwide – please note each class is in its local timezone. Grab your Global Pass HERE.

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Miskatonic London offers monthly classes and a discounted full semester pass. For our Spring 2021 Online semester, admission to individual classes is £8 GBP (these individual ticket links are accessible on the event page for each class), and full semester passes including all five classes curated by Miskatonic London are £30 GBP, available through Billeto HERE. Please note students from anywhere in the world can register for these online classes.

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Miskatonic NYC offers monthly classes and a discounted full semester pass. For our Spring 2021 Online semester, admission to individual classes is $10 USD (these individual ticket links are accessible on the event page for each class), and full semester passes including all five classes curated by Miskatonic NYC are $40 USD, available through Eventbrite HERE. Please note students from anywhere in the world can register for these online classes.

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Miskatonic LA offers monthly classes and a discounted full semester pass. For our Spring 2021 Online semester, admission to individual classes is $10 USD (these individual ticket links are accessible on the event page for each class), and full semester passes including all five classes curated by Miskatonic LA are $40 USD, available through Eventbrite HERE. Please note students from anywhere in the world can register for these online classes.

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UPCOMING EVENTS:

  • Image still from film "Someone's Watching Me" featuring a close-up on a woman's face with an expression of petrified fear
    HORROR COMES HOME: WOMEN AND THE MADE FOR TELEVISION MOVIE (NYC Online)
    Thu. Jan. 21, 2021 - 7:30 pm EST - 8:45 pm EST

    The birth of the made for television movie just happened to coincide with the second wave feminist movement that was erupting along the streets of the United States. Television, which has always been interested in the female demographic, represented this movement in different ways, and the telefilm became a prime space for interrogating issues that were important to women. The genre telefilms of the golden age of the seventies and well beyond also challenged common stereotypes that have afflicted female characters for years. However, the action didn’t always happen on screen. Several women worked behind the scenes and had their hand in the production of some of the most memorable television genre films. Horror Comes Home: Women and the Made for Television Movie is a retrospective on the oft-maligned made for TV genre movie, exploring how these films spoke to its female audience in a way no other medium has.

    Please note these are live events – they cannot be downloaded and watched later, so please be sure you are available at the time and timezone the classes are being offered in before registering. 

  • Image of a woman sitting on a chair concealing a man inside from Japanese film "Horrors of Malformed Men"
    SEEING AND FEELING JAPANESE HORROR: SCOPOPHILIA AND CLAUSTROPHILIA IN EDOGAWA RAMPO (LA Online)
    Thu. Jan. 28, 2021 - 7:30 pm PST - 8:45 pm PST

    Edogawa Rampo burst onto the literary scene in 1920s Japan with a rapid succession of short stories and novels that helped to articulate the cultural logic of “erotic, grotesque, nonsense” in the interwar period. He earned instant notoriety for his startling explorations of Japanese modernity: the lure of illicit or prohibited desires; a fascination with cinema and visual spectacles; the psychology of leisure, and thrill-seeking; and a seemingly inexhaustible wanderlust for the imperial metropolis Tokyo. With instructor Seth Jacobowitz as our guide, this presentation will discuss scopophilia and claustrophilia as two predominant horror themes in Rampo’s fiction writing and their adaptation in the Japanese film and art worlds. We will explore his “Stalker in the Attic” (1926) and the film The Watcher in the Attic (1976) directed by Noboru Tanaka, the omnibus film Rampo Noir (2005), and Suehiro Maruo’s graphic novel The Strange Tale of Panorama Island (2010), among other works.

  • A black and white photo of a white woman lying on a divan, with the shadow of a black man on the wall behind her.
    AMERICAN VOODOO: FICTIONALIZING HAITI TO MEDITATE ON US POLICY (London Online)
    Tue. Feb. 9, 2021 - 7:00 pm GMT - 8:15 pm GMT

    This course examines American representations of Haitian culture in a series of horror films and selected texts to consider how they reduce Haiti to an island of aberrant sorcerers creating monsters to destroy the West. A closer look at these representations and America’s concurrent sociopolitical behaviors will reveal that such depictions actually say more about the US and its anxieties and missteps than it ever does about Haiti.

  • The poster image from the film [REC]3, a woman in a wedding dress holding a chainsaw
    SPANISH HORROR TOWARDS THE 21ST CENTURY: FROM THE DIGITAL TO THE FRANCHISE (NYC Online)
    Thu. Feb. 18, 2021 - 7:30 pm EST - 8:45 pm EST

    In the late 20th and early 21st centuries, new directors such as Jaume Balagueró, Juan Carlos Fresnadillo, Paco Plaza, J.A. Bayona and Alejandro Amenábar radically changed the contours of Spanish horror through a fundamental strategy: the internationalization of the national film output from an aesthetic and industrial viewpoint to appeal to both the domestic and foreign markets. This class, led by instructor Vicente Rodríguez Ortega, will examine this period through a detailed analysis of the four installments of the [Rec] franchise (Jaume Balagueró & Paco Plaza), films that use the imperfect aesthetics of video, and simultaneously epitomizes the configuration of Horror as the main exportable asset for the national film industry. It will also connect Spanish horror with other international films that deploy the imperfect aesthetic of video as a key stylistic feature, such as The Blair Witch Project, Paranormal Activity and Cloverfield.

  • Three examples of Rick Baker's makeup artistry including ghouls and creatures from horror history
    RICK BAKER: AN INTIMATE SELF-PORTRAIT (LA Online)
    Thu. Feb. 25, 2021 - 7:30 pm PST - 8:45 pm PST

    Rick Baker is a world-renowned titan of the film industry whose curriculum vitae glitters with Oscar® gold. As a taciturn “monster kid” who whiled away youthful hours gleefully poring over love-worn copies of Famous Monsters of Filmland, reverently drawing images of his favorite horror stars, and customizing Aurora model kits, Baker found that his idiosyncratic affinities made him something of a misfit. Upon initial experimentation on himself. , the transformative qualities of makeup emboldened Baker to dabble in the performative and the outrageous. Though seemingly contradictory, donning these eerie exoskeletons of his own design are precisely what enabled Baker to come out of his metaphorical shell. Utilizing Baker’s self-portraits in the medium of monsters as our guide, Miskatonic Los Angeles co-directors Amy Voorhees Searles and Graham Skipper will track his personal and professional metamorphoses: from a boy to a man, and from a novice to a master.

  • The poster of the film NESSIE, with the title coming out of a large body of water
    HAMMER GOES TO HELL: THE HOUSE OF HORROR’S UNMADE FILMS (London Online)
    Tue. Mar. 9, 2021 - 7:00 pm GMT - 8:15 pm GMT

    This talk will utilise never seen before archival materials held in the Hammer Script Archive to present a new perspective on Hammer Films, arguing that whilst many studies of Hammer Films have been undertaken, none have accounted for the significant amount of creative and economic labour that went into over 100 unmade projects at the company. Hammer’s unmade projects demonstrate exceptional creative innovation, even in the final years before their closure in 1979, pointing to key tensions within Hammer, as well as larger industrial changes to the British film industry, which ultimately sealed the company’s fate.

  • Image from the film "Shivers": A man and a girl are in the an elevator. The man is smelling the girl's hair. There is a body half-seen on the floor.
    CONCRETE MATERNALITY: ON LATE CAPITALISM AND HIGH RISE HORROR (NYC Online)
    Thu. Mar. 18, 2021 - 7:30 pm EDT - 8:45 pm EDT

    In her book on the role of gender in the modern horror film, Carol Clover discusses how the female body often translates as a metaphoric architecture for cinema, arguing that its penetrable yet opaque interiority becomes a perfect site for housing anxieties, fears, or what one would deem, following Freudian theory, the uncanny. This potentially disturbing correspondence between the uncanny feminine and architectural interiority finds its most overt articulation in horror films that take residential towers as their setting, with the precarity of female bodies highlighting the terrors that they give rise to. This lecture, led by instructor Émilie von Garan, focuses on the coupling between residential towers and threatening and/or threatened female bodies in two films—David Cronenberg’s Shivers (1975), and Bernard Rose’s Candyman (1992)—locating in each productive engagements with different stages of neoliberalism and urban development.

  • Images of three Wallestein fumetti book covers
    AN ORGY OF TERROR: ITALIAN HORROR COMICS OF THE 1970S AND 80S (LA Online)
    Thu. Mar. 25, 2021 - 7:30 pm PDT - 8:45 pm PDT

    At its height, Italian publishing house Edifumetto produced hundreds of individual titles and selling millions of copies every month, with their comics appearing across Europe, Central and South America, North Africa and French-speaking Canada. Typically appearing as small-format pocket digests, these comics were notable for their lushly painted cover art which featured work by some of Italy’s finest illustrators. Significant also were the explicitness of their themes and imagery, with storylines that blended nudity and sex with violence so gratuitous that it occasionally bordered on parody. With instructor Adam Twycross, this talk will discuss these extraordinary comics from a cultural and historical standpoint, examining both the transnational context within which they evolved, and the uniquely Italian environment that shaped their development.

  • A ghost with a black body and white eyes, surrounded by images of monsters such as skeletons and Frankenstein's monster
    THE MONSTER MASH: REMIX HORROR FROM THE MAGIC LANTERN TO THE SMALL SCREEN (London Online)
    Tue. Apr. 13, 2021 - 7:00 pm BST - 8:15 pm BST

    This talk will focus on key moments in the history of the monster mash, from Gothic traditions of mashup and intertextuality in 18th-century novels, to Universal Studios, who industrialized and commercialised the concept in films and paved the way for later film franchises, to recent literary mashups and ‘Frankenfictions.’ Along the way we’ll explore how this genre moved from the margins to the mainstream and what this reflects about the mutability (or lack thereof) of the status quo.

  • Image from the film "The Thing," in a frozen room, a man holds a lamntern and looks at a disembodied head.
    THE HOLLOW THE IMAGE LEAVES EMPTY: ALTERITY, ABJECTION, & THE THING (NYC Online)
    Thu. Apr. 22, 2021 - 7:30 pm EDT - 8:45 pm EDT

    In his treatise on psychoanalysis, Jacques Lacan makes reference to das ding, a thing-presentation that is the beyond of the signified. Das ding is the Other in absolute alterity, outside language and mainly characterized by the fact that, for Lacan, “it is impossible for us to imagine it”. In her essay “Powers of Horror”, Julie Kristeva, “The abject has only one quality of the object—that of being opposed to I”; the abject is exclusion, in a place without meaning, and from that place it cries out in revolt and brutish suffering. This is the essence of horror: that which can be neither known nor named. Through the lens of The Thing, and texts such as Planet of the Vampires and It, instructor Shelagh Rowan-Legg’s class will examine the horror where alterity and abjection meet.

  • A black and white illustration of Walpurgis Night
    WALPURGISNACHT: FOLKLORE & POPULAR CULTURE (LA Online)
    Thu. Apr. 29, 2021 - 7:30 pm PDT - 8:45 pm PDT

    Walpurgisnacht, the evening of the 30th of April, is said to be one of the holiest days of witch’s calendar; the night before the feast of Saint Walpurga, who drove the witches out of Germany. Anton LaVey, the founder of the Church of Satan, declared Walpurgisnacht one of the holiest days of the Satanic year. It was said that on this evening, covens of witches would gather on Brocken mountain in Northern Germany, to weave their nefarious evil. With instructor Mikel Koven, this class explores the folklore surrounding Walpurgisnacht and its representation in popular culture, including the poetry of Goethe, the music of Mendelssohn, the folk rock/folk metal sounds of Faun, and of course the films of Paul Naschy. How does all this fit together? Only the witches know and will reveal all on Walpurgisnacht 2021.

  • A book cover for EREBUS, with person with fangs holds their bloody and hairy hands in front of their face
    LESS PUNK, MORE SPLATTER: THE HARD ROCK HORROR FICTION OF SHAUN HUTSON (London Online)
    Tue. May. 11, 2021 - 7:00 pm BST - 8:15 pm BST

    This lecture explores horror novelist Shaun Hutson’s oeuvre, with particular attention to his most prolific decade, the 1980s, and offers an overview of the concurrent “literary nasties” phenomenon in Britain. With the aid of lavish illustrations, extended quotations, clips from interviews, and contemporaneous horror films, we will assess the lasting significance of – as Kerrang magazine had it – “The Shakespeare of Gore.”

  • Image from the film "Spoorlos" of a long tunnel, at the end of which, a woman is silhouhetted in the light.e
    CHRONICLE OF A DEATH FORETOLD: SPOORLOS (NYC Online)
    Thu. May. 20, 2021 - 7:30 pm EDT - 8:45 pm EDT

    George Sluizer’s 1988 thriller “Spoorlos” unfolds as a series of prophecies, including several of the self-fulfilling variety: its characters can envision the consequences of their actions but pursue them anyway. Where many genre films utilize the element of surprise, “Spoorlos” is constructed so that its characters — and the audience — can see everything coming. This creeping, inescapable dread makes Sluizer’s film a classic, and gives it a genuinely existential dimension. Led by Adam Nayman, this class will analyze how “Spoorlos” plays with various literary and dramatic conventions from its shivery, premonitory prologue to its startling, retrospectively inevitable climax, while also examining its relationship to various cinematic influences (including “Vampyr,” “Psycho” and “The Shining”), and a comparison with its 1993 American remake “The Vanishing”—a curious and baffling case of a European filmmaker reworking and arguably disfiguring his own material in a Hollywood context.

  • Image from film "The Skin I Live In" featuring a woman in a mask laying on a table for a cosmetic surgical procedure
    PROJECTING HORRORS REAL, IMAGINARY AND METAPHORICAL: TRANS AND OTHER GENDER-NON-CONFORMING BODIES IN HORROR CINEMA (LA Online)
    Thu. May. 27, 2021 - 7:30 pm PDT - 8:45 pm PDT

    Gender non-conformity has long been a marker in cinema for murderous villainy and psychosis or has been presented as reason enough for anyone thus marked to be dispatched from their narrative universes with excessive (and often casually misogynistic) force. For transgender and gender-diverse people, everyday life can be the stuff of horror, felt especially by trans people of color. Much of screen media production, has only served, through stereotyping and ignorance, to perpetuate the real traumas and horrors experienced routinely by trans people. This lecture will debunk no small number of harmful myths about transgender people, propagated by the screen media-industrial complex and in the horror movies historically produced within it. With instructor Cerise Howard, we’ll explore the ubiquity of trans narratives and imagery within horror cinema – even if they’ve most often been deployed at a metaphorical remove from being transgender narratives and imagery.

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