I Spit On Your Celluloid: The History of Women Directing Horror Movies

by Heidi Honeycutt

Slumber Party Massacre. Pet Sematary. Near Dark. American Psycho… These horror movies have heavily contributed to pop culture and are loved by horror fans everywhere. But so many others have been forgotten by history. From the first silent reels to modern independent films, in this book you’ll discover the creepy, horrible, grotesque, beautiful, wrong, good, and fantastic — and the one thing they share in common.

This is the true history of women directing horror movies.

Having conducted hundreds of interviews and watched thousands of horror films, Heidi Honeycutt defines the political and cultural forces that shape the way modern horror movies are made by women. The women’s rights and civil rights movements, new distribution technology, digital cameras, the destruction of the classic studio system, and the abandonment of the Hays code have significantly impacted women directors and their movies. So, too, social media, modern ideas of gender and racial equality, LGBTQ acceptance, and a new generation of provocative, daring films that take shocking risks in the genre.

Includes short films, anthologies, documentaries, animated horror, horror pornography, pink films, and experimental horror.

I Spit on Your Celluloid is a first-of-its-kind celebration, study, and “a book that needed to be written” (says cult filmmaker Stephanie Rothman). You will never look at horror movies the same way again!

Genres: Horror, Nonfiction, Film, Feminism, History, Art

464 pages, Paperback

Published August 8, 2024

About the author

Heidi Honeycutt is a film festival programmer, film journalist and film historian whose expertise is horror movies. She is co-founder of the Etheria Film Festival, the most prestigious festival showcase of new horror, sci-fi, fantasy, action, and thriller films directed by women. She has contributed to a variety of genre books and magazines, including Fangoria, Famous Monsters of Filmland, Moviemaker Magazine, Ms. Magazine, Rue Morgue, and Delirium.

Reviews

[Anna Biller · Rating 5 out of 5]

The first comprehensive guide to women in horror, this painstakingly researched volume includes every significant female filmmaker to ever direct a film or a TV show in the horror or thriller genre, from the silent era to today. Chock full of biographies, anecdotes, interviews, analysis, and trivia, and with a fresh and entertaining style, this encyclopedic reference book is a must for any serious horror fan.

More than just a history of women filmmakers directing horror films, this hefty tome, replete with a number of gorgeous color stills, highlights the history of film in general, covering the practices and concerns of independent vs. studio films, film vs. television, and the types of stories people were writing in the 1920s as opposed to the 1960s or now. One of my favorite things is the description of all the crazy plots of obscure silent films ("Her early experiments in genre film include depictions of grotesque images such as doctors amputating patients' limbs and then holding up the fake severed arms and waving them about”), exploitation films ("an onslaught of disturbing cello music, a court jester speaking cryptically, red-stained concrete walls, white nightgowns, religious iconography, sexual revulsion and exploration, and human emotional suffering”), or early television shows. I also love the anecdotes about low budget filmmaking (“we put in all our relatives as ghouls”), the quotes and interview snippets from the filmmakers (Wendy Toye: "People say, 'You've never been a feminist, and you never fight for women.' Well, I don't, really, but I think an example of doing something and getting on with it and not being a crashing bore about things is probably better than getting onto a platform and making some speech about it all”), and the current of feminist analysis that runs throughout.

Despite her serious concerns, Honeycutt's style is journalistic rather than academic, and refreshingly candid. For instance, in discussing the “remarkably, objectively terrible” films of Doris Wishman, she says, “as a fan or cinephile, one can search hard for some stylistic meaning to the odd editing and weird framing, but there’s nothing behind it;” or, “The Ghosts of Hanley House is somewhat unbearable as far as films go."

The way Honeycutt places people and their projects in their time, rather than trying to plaster over them with the politics and aesthetics of our own day, is one of the pleasures of this book. And including as it does so many direct quotes and vivid scenarios, it sets the record straight on what have been highly contested topics concerning the filmmakers, their intentions, and what really happened during the production of many famous and infamous films. Highly recommended.

[Amanda · Rating 4 out of 5]

As a history of female directors in the horror genre this is superb. Provides a great timeline overview. It’s funny to think this is a new topic - but this does a solid job of showing the evolution.

[Reader · Rating 4 out of 5]

I'm only about half way through this book, so this isn't a real review. I'm really enjoying this book so far, on a very interesting subject, and I'm being exposed to many great films I wouldn't have been otherwise... Though I can't help putting my oar in to mention I think this would have been a much more readable and engaging book if each chapter was subdivided into sections/subheadings.. or even if it had a lot more double-spaced paragraph breaks to break up the flow (most chapters don't have any, in the non-ISBN hardback edition I have at least). I just finished the 50-odd page chapter on Non-English language films in particular, which though full of vital information, very well-written and researched, etc., felt like an an avalanche to get through by the end, with no gaps for a natural breather! Hopefully (for me at least) this is addressed if the book is ever republished in further expanded editions. Other than that, great work.

[Olenka Owens · Rating 2 out of 5]

This book was well-researched, informative, and dull. There are parts that were very intriguing but overall it was dry.

If you read, I suggest skipping to the parts you are interested in, because if not, you will get burnt out on it pretty quickly.

[Jillian Allen · Rating 4 out of 5]

There are some serious editing issues in this book, but that’s not Honeycutt’s fault.

This book is incredibly, painstakingly researched, and Honeycutt’s love and passion for the genre takes center stage. There’s also some enlightening stories in here that help explain why women-directed horror has taken the trajectories it’s taken. There were also heartbreaking and maddening stories that make you want to scream at men in the film industry.

I thought I knew a decent amount of horror films directed by women before reading this book, but my to-watch list has now exploded; Honeycutt’s thoroughness is impressive. It’s almost encyclopedic — The Encyclopedia of Women-Directed Horror, The Bible for feminist horror fans, if you will.

I felt the worst heartbreak reading about badass films by badass women, only to find out a couple paragraphs later that they’re lost films, sunken into the void of misogyny. I’m going to embark on a very fun (and arduous) adventure of finding all the films I bookmarked and noted as a must-watch. And here’s hoping that somehow, beyond all hope, some of those lost films are found and restored.

I love horror, and I love women. If you love both those things, this book is for you. Just know it’s not necessarily an easy read (formatting-wise, depth-wise, and sometimes content-wise when she gets into some of the more frustrating stories about women’s films that were ruined by male producers or women who could never get funding).

[Josh Bell · Rating 5 out of 5]

A Must-Read for Horror Fans, Cinephiles, and Anyone Who Believes in Giving Credit Where It’s Due

I Spit on Your Celluloid is the definitive history of women directing horror films, and honestly, I can’t recommend it enough. Heidi Honeycutt delivers an absolute masterclass in film history—deeply researched, passionately written, and brimming with insight.

This isn’t just a list of directors or a surface-level overview. Honeycutt dives into the cultural, political, and cinematic contexts that shaped the careers of women behind the camera. She uncovers forgotten pioneers, celebrates trailblazers, and makes it painfully clear how often women’s contributions to horror have been overlooked or erased. Her writing is sharp and intelligent, but also accessible—like having a late-night conversation with your smartest horror-loving friend.

Whether you’re a genre devotee or just someone curious about how horror evolved and who was really behind the lens, this book is essential reading. Honeycutt’s knowledge and love for the genre leap off the page, making this as engaging as it is educational.

If you’re thirsty for horror knowledge, craving deeper film history, or just tired of the same old narratives—this is your book. Bold, brilliant, and long overdue.

[Circe · Rating 3 out of 5]

A thoroughly necessary and extensive compendium of female voices in horror. I really admire Honeycutt's research into the subject and the degree to which she pursues the far-reaching influence of female contributions to the horror genre spanning as far back as the late 1800s. I'm proud to have this beautiful book in my collection complete with gorgeous print and images but I'd be remiss to omit the denseness of the book as a whole. I can't help but feel this would've been more cohesive reformatted with subheaders to better comprehend all of the factoids and tidbits; it becomes almost bogged down by its overwhelming subject matter and as such doesn't really know how to narrow it down cohesively. I ended up skipping sections to read parts that held my interest already, like Harron and Turner's conversations on American Psycho, Japanese directors such as Mari Asato and Kei Fujiwara, and segments featuring both experimental and queer conceptions of horror.

I can see how people can become burnt out on this when reading it fully, especially with its enormous, meaty subject matter — but I have so many new movies and films to check out now, and I think that's fantastic.

[Carlie St. George]

Meticulously researched and incredibly informative book on women directing horror (in silent films, short films, feature films, on TV, internationally, etc.) Did sort of feel like I was being hit in the face with an encyclopedia sometimes, particularly in the first half of the book. A lot of that had to do with the formatting, though—a near complete lack of section breaks, for instance—which might not be the same across all editions? (I was lucky enough to read an electronic copy for award consideration.) Regardless, a really interesting read, and I have a HUGE list of women and films to look up now.

[John Schorg · Rating 5 out of 5]

It's a wonderfully lurid title for an ambitious book that looks at a noteworthy subject. In clear, understandable prose, it compels you to spend time considering the growing role women are playing in making horror movies and how that role stretches back to the early days of cinema. It is particularly commendable for two reasons: it is written in a manner that doesn't descend into academic gobbledygook, and the author readily admits that some of the work done through the years has been crappy. This is a worthy addition to any collection of movie reference books.

[Andrew · Rating 5 out of 5]

As someone who's been a horror fan almost as long as I can remember this was a real treasure to read. There were so many new insights I gained, fascinating stories, and I was just gobsmacked at the sheer amount of research that must've gone into this. With no exaggeration, I feel like my whole sense of being a horror fan has changed.

[Chris McMillan · Rating 4 out of 5]

Extremely well researched book, covering women directing for both cinema and television. The formatting is at times an issue (I'd start a new paragraph, thinking the book was still discussing one person, only to discover it was about another subject), but a very worth-while read. And is certain to add a few more items to your "to-watch" list.

[Dana · Rating 5 out of 5]

incredible resource, though be warned that it's quite dense (and imo could use a bit of reformatting to make it a little more readable). I learned so much about the history of horror and women in horror, and am excited to watch some of the movies mentioned :)

[Heidi Honeycutt · Rating 5 out of 5]

I have already read this because I wrote it. It's amazing and everyone should read it.

[Rob · Rating 1 out of 5]

Another DNF. I seem to be in a rut. Next book better be good!

[carlie · Rating 4 out of 5]

WOMEN IN HORROR! WOMEN IN FILM!

[Jeanelle Vivier · Rating 4 out of 5]

A book describing the magnificent evolution of female directing horror films. Offers facts, descriptions and fun chapters that cover a range of film areas, from focussing on US and UK directors to focusing on non english horror film. This book is for any film lovers, especially women who dream of stepping into the film industry.