The trope of the queer cannibal recurs throughout fiction as well as film and television. While literature scholars such as David Bergman and Caleb Crain have written about this figure in American literature, the queer cannibal remains unstudied in the realm of media studies. This thesis analyzes six media texts that feature queer cannibals: Hannibal (2013-2015), Ravenous (1999), The Terror (2018), Yellowjackets (2021-), Raw (2016), and Bones and All (2022). Through these analyses, this thesis establishes a genre termed "queer cannibal texts." These texts function on two different levels: they include a cannibal character who is or can be read as queer, and they in some way cannibalize and queer an existing story or societal script. The presence of a queer cannibal character often signals that the work itself is a queer cannibal text. These texts are built on an awareness of existing power structures and narratives. By cannibalizing these narratives—whether they be a fictional narrative that is being adapted, or societal narratives of white supremacy, heteronormativity, and so on—and interrogating them from a queer perspective, queer cannibal texts create reparative narratives that speak from the margins. Queer cannibal characters act as a textual manifestation of this framework, providing a …

The American International Pictures (AIP) Beach Party Films were a major American cultural phenomenon in the early 1960s and continue to play a significant role in the American cultural imagination. The AIP Beach Party Films, despite their popularity and influence, have been largely ignored by academia and a thorough academic examination has yet to be written. This thesis attempts to change such an academic precedent. At first glance, the Beach Party Films are frivolous and chaotic (perhaps explaining the lack of academic inquiry). However, upon closer examination, the Beach Party Films are laden with cultural artifacts, insights into American culture of the late 1950s and early 1960s and provide a view into the tenuous relationship between 1960s American dominant culture and developing countercultures. Further, the Beach Party Films reveal a 1960s cultural lull; a culture that was caught between the dominant culture of 1950s America and the explosive cultural changes of the late 1960s that had yet to occur. By closely looking at the AIP Beach Party Films, and doing so through the lens of various cultural critics, there can be described potential cultural perspectives from early 1960s America.