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Posted on June 17, 2021

Carrie White as Witchcraft, Power and Fear

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In our hands: embers embers embers
just waiting for
the opportunity
to ignite

-Amanda Lovelace, The Witch Doesn’t Burn in This One (53)

The Witch in Popular Culture

In the twenty-first century, literature and film have demonstrated a compulsion to return to the figure of the witch. Witches are embedded in popular culture old and new. From the folkloric enchantresses Baba Yaga, Circe, and Morgan Le Fay to the fairytale hags who eat, kidnap, and murder children in stories such as Hansel and Gretel, Rapunzel, and Snow White, the witch is designed to reinforce men’s fear and abhorrence towards women. Modern media, however, continues to challenge the witch as a figure of absolute terror and evil. What happens, for example, when the witch is a child herself? Portrayals of the “goodhearted” child-as-witch emerged and took centre-stage in stories such as Harry Potter (2001-11) and Chilling Adventures of Sabrina (2018). But before Hermione and Sabrina, there was Stephen King’s Carrie White.

Posted on June 5, 2021

Folk Horror at Home and Abroad in Ari Aster’s Midsommar

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Upon its release, Ari Aster’s Midsommar (2019) was hailed as a new Folk Horror masterpiece. Like so many other films in the genre – for instance, The Wicker Man (Robin Hardy, 1973) and the made-for-TV movie The Dark Secret of Harvest Home (Leo Penn, 1978) – Aster’s film ends in death and with the triumph of the values of a secluded community over the members of a more modern society.

Many viewers read this violent ending as cathartic. Dani (Florence Pugh) has finally shed all the people and circumstances in her life that made her miserable. Her acceptance by the Hårga and the enigmatic smile that plays on her face as she watches her boyfriend, Christian (Jack Reynor), burn to death are seen as the hallmarks of a happy ending.

Posted on May 25, 2021

The Persistence of Reproductive Futurism in A Quiet Place

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‘If they hear you, they hunt you.’ A Quiet Place (2018) tells the story of a white American family fighting to survive in a post-apocalyptic North American landscape, where they are forced to live in silence to avoid monstrous creatures that hunt by sound and have wiped out the majority of the population. The fictional couple Evelyn and Lee Abbott (played by real-life Hollywood couple Emily Blunt and John Krasinki) are determined to find a way to protect their children (deaf daughter Regan, and sons Marcus and Beau) while desperately searching for a way to fight back.

Posted on April 21, 2021

The Greatest Witch of All: Examining the Character and Cultural Impact of the Wicked Witch of the West in The Wizard of Oz (1939)

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The Wicked Witch of the West is perhaps the most famous incarnation of a witch on screen who also happens to be in one of the greatest films of all time. She may not have a cat, but she does have a fleet of winged monkeys. I can, of course, only be referring to the Wicked Witch of the West from the spectacularly glorious 1939 film, The Wizard of Oz. Originating from the timeless and much-loved book penned in 1900 by L. Frank Baum entitled The Wonderful Wizard of Oz, this depiction, embodied by an unrecognisable Margaret Hamilton, has served as universal shorthand for wickedness in popular culture for decades.

The Wicked Witch of the West is ranked at number 4 on the American Film Institute’s 50 best villains of all-time list, a startling achievement in that it also makes her the highest -ranking female villain ever to bewitch our screens! Her very title, in fact, denotes her importance, for she is not just a witch, but the Wicked Witch of the West, a name that with its heavy vowel sounds and alliteration carries an air of threat and menace. Unlike her adversary, Glinda, the Witch of the North, she is not humanized with a Christian name. Read more

Posted on April 12, 2021

The 40th Anniversary of The Evil Dead: Camp Horror and its Legacies

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Forty years ago, Detroit’s Redford Theatre hosted the premiere of The Book of the Dead, a new film by Sami Raimi. A fan of the extravagant premiers popularised by William Castle, Raimi put on a show—custom-made ticket stubs promised the “Ultimate Experience in Gruelling Terror” and two ambulances were ceremoniously parked outside. If that were not enough, two wind tracks were set up to transport attendees to the film’s iconic setting: a dilapidated cabin in the woods. Two years later and the film, renamed The Evil Dead, would make over $29million worldwide; due in no small part to its dedication, on and off screen, to the kind of theatrical spectacle initially created in the Redford Theatre. Read more