Editorial: Eurohorror

Rather than re-rehearsing familiar narratives about ‘Eurohorror’ erected around an established canon of films, directors and themes, or reclaiming a particular text or filmmaker from obscurity, the brief to participants was to historicise the term since it is more often than not conflated with related cinematic categories such as ‘Euro Trash’ or ‘Euro Cult’, and to think about the critical intersections and interactions between various fields of cultural production associated with it – fanzines, small niche VHS and DVD distributors, spaces for dissemination – to approach it from fresh perspectives so as to chronicle stories that have not yet been told. The ultimate aim, therefore, was to map out a richer and more nuanced picture of the cultural histories of ‘Eurohorror’, and, by extension, European horror film.