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Posted on June 13, 2016

Rosemary’s Baby and 60s Youth

Dawn Keetley

Born in the late 1960s, I am—for better or worse—one of Rosemary’s Generation. Historian Steven Mintz describes a “sea change” in behavior and attitudes in the youth of the 60s and 70s: “their parents’ concern for their well-being became translated into their own search for personal fulfillment.” Often characterized as “idealistic and rebellious,” 60s youth were also “uniquely self-absorbed, materialistic, and narcissistic.”[i] No single cultural product can define a generation, but Roman Polanski’s film, Rosemary’s Baby, released on June 12, 1968, certainly embodies something of 60s youth—as did, I would add, George A. Romero’s Night of the Living Dead (also 1968) and Richard Donner’s The Omen (1976).

Headlines of the 60s worried about spoiled, defiant children and, as Mintz puts it about “parents who let their offspring bully them.” A 1960 issue of Newsweek asked “Are We Trapped in a Child-Centered World?” Other articles posed the questions “Is the Younger Generation Soft and Spoiled?” and “Child Monarchy in America?”[ii] Read more

Posted on June 7, 2016

Male Rape and Victimology in The Killing Kind (1973)

Elizabeth Erwin

Curtis Harrington’s The Killing Kind (1973) is quite simply a fascinating study of the politics of rape.

When it comes to the depiction of female rape in American horror, the line between violence and sex has been especially blurred. Whether the rape is part of a revenge narrative (American Mary, Girls Against Boys), a mode to distinguish otherness (Cannibal Holocaust, The Last House on the Left) or a means to convey a political point (The Entity, Deadgirl), the usage of sexualized violence against women in horror narratives is so pervasive so as to become an acknowledged trope of the genre. These scenes, while often explicitly violent, also tend to incorporate close-up shots of naked breasts and writhing bodies and function to make the moment expressly and uncomfortably linked to sexuality.

Conversely, the specter of male rape in American popular culture is relatively uncommon. Often linked to a specific setting such as a prison (The Glass House, Fortune and Men’s Eyes), problematically associated to homosexuality (The Mudge Boy) or immediately and uncomfortably repressed by the other characters (Deliverance), male rape is typically portrayed-when it’s portrayed (it’s telling that I needed to go outside the horror genre to locate films)-as expressly violent without the added sexual subtext. Even in those cases where rape is tied to queer identity, the act itself is shown as being specifically about dominance.

Given that frame of reference, it was with great interest that I recently watched Curtis Harrington’s excellent The Killing Kind. The film opens with the brutal gang rape of a young woman, Tina (Susan Bernard), on a beach. Terry (John Savage) looks on but does nothing to participate in OR to prevent the violence happening in front of him. He is then grabbed by the rapists, stripped, and thrust upon the woman being violated. Terry’s forced penetration of Tina means that in that moment he is both rapist and victim. Read more

Posted on May 29, 2016

The Other Side of the Door (2016) and Wake Wood (2009): Folk Horror and Grief

Dawn Keetley

DEFYING DEATH IN THE HORROR FILM: Since at least Pet Sematary (1989), we’ve known it’s not a good idea to try to bring loved ones back from the dead. Indeed, this theme goes back still further. What was Frankenstein (1931), in the end, if not a warning about what happens when you raise the dead? But if horror is at bottom about the inevitability of death, it’s also about our efforts to defy that inevitability—efforts that are at the same time heroic and dangerously hubristic. Both The Other Side of the Door and Wake Wood demonstrate this in terrifying fashion.

The release last week of The Other Side of the Door (2016), directed by Johannes Roberts, written by Roberts and Ernest Riera, and starring Sarah Wayne Callies (The Walking Dead, Colony) and Jeremy Sista (Six Feet Under, The Returned), is a dramatic manifestation of the fact that we’ll never get over (or around) the implacability of death.

Indeed, we can see the persistence of the human desire to overcome death in the fact that The Other Side of the Door is strikingly similar to another relatively recent Irish folk horror film—Wake Wood (2009), which was directed by Arthur Keating and stars Aidan Gillen (Game of Thrones), Eva Birthistle (The Children), and Timothy Spall (Harry Potter, Mr. Turner). Both films are worth watching, both in and of themselves and also because of what their similarities say about an enduring theme of horror. Read more

Posted on May 1, 2016

Monstrosity, Creation, and Feminism in Penny Dreadful

Guest Post

Guest Author: Cayla McNally

Both seasons of Penny Dreadful have similar themes: guilt, repression, creation, monstrosity, and the confluence of the sacred and the profane. A huge part of the thematic narrative is duality, a secret self that is harbored away, repressed. As monstrosity is repressed, as the secret self is repressed, the power the characters have over themselves weakens. Ethan represses his lupine nature, which causes him to erupt violently when he does transform. Vanessa represses her natural sexuality, which then leaves her vulnerable to possession. Victor represses Lily’s history, which helps her realize she is immortal.

Monstrosity exists in all of the characters, in two different categories:

-Dorian, Lily, John/Caliban, and Ethan are monstrous in a supernatural way. Control and consent become overarching themes as well, existing at the crossroad of creation and monstrosity. The creatures who see themselves as monsters (Ethan, John/Caliban, Lily) had no control in their creation; rather, they can only control what they choose to do with their monstrosity. Read more

Posted on April 28, 2016

Everything You Need to Know about Penny Dreadful Before Sunday

Guest Post

Guest Author: Cayla McNally

Popular Gothic TV show Penny Dreadful is making its return to Showtime this weekend, and I am beyond excited! Named after a popular form of 19th century pulp novel, the show is a twisted tale of the dark and supernatural goings-on in Victorian London. The first two seasons have been a beautiful and harrowing ride, and I am curious to see where show creator John Logan will take it next. It can be hard to remember everything that happened in the eighteen episodes of this complex and detailed show, so below you will find season recaps to bring us up to speed for season three. Caution, spoilers abound.

Season 1

Season one begins with, of course, a grisly murder of a woman and her young child, plucked out of their home in the dead of night. The killer remains mysterious and on the loose, though many fear that Jack the Ripper has returned. Meanwhile, Vanessa Ives (Eva Green) approaches American sharpshooter Ethan Chandler (Josh Hartnett); she offers to pay Ethan handsomely for his skills on some “night work.” Intrigued, Ethan agrees to join Vanessa and Sir Malcolm Murray (Timothy Dalton), and promptly follows them- unawares- into a vampire den. It is revealed that Sir Malcolm’s daughter- and Vanessa’s best friend- Mina (Olivia Llewellyn) was captured by one of the creatures. They are attacked, and manage to kill one of the nest’s main vampires; they take the body to Dr. Victor Frankenstein (Harry Treadaway), who discovers that there are glyphs written under the creature’s skin. Egyptologist Ferdinand Lyle (Simon Russel Beale) later discerns that the glyphs are from the Egyptian Book of the Dead and foretell the end of the world. He also believes that the vampires are using Mina as bait, and really want Vanessa. Read more

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