Abstract
ABSTRACT: Landmark legal decisions on privacy and birth control reiterate gendered Cold War logics of containment by positioning the home as the safe container for female sexuality and fertility. Contemporary horror, however, counters this dualistic construction of safe interior–uncontrollable exterior by portraying the boundaries between inside and outside as artificial and porous. Representations of sexual containment, the nuclear family, and the domestic home space in The Birds (Alfred Hitchcock, 1963) and Night of the Living Dead (George A. Romero, 1968) complicate broader cultural and legal conceptions of birth control as a form of protection for the impenetrable marital home.
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