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imbalance between amounts of budgeting allocated to rural populations is tilted in favour of those classified as urban. Rural, as discourse, much like Pagan, suggests an antonymic relationship whereby it is defined by what it is not (not-urban). While Adam Scovell’s ‘folk horror chain’ ( 2017 : 8) gives some recognition to the discourse of Pagan as the presence of ‘skewed belief systems and
’ is coded as urban and the setting and the ‘monster’ are coded as rural (Bell 1997 : 95). Wood argues that through the figure of the monster, horror films stage ‘the struggle for recognition of all that our civilization represses or oppresses’ ( 1986 : 75). In Wood’s understanding of the monster, a vision of contemporary socio-cultural ‘normality’ is set against the repressed or oppressed ‘other’. The
horror scholars to describe the first wave of folk horror in Britain, and, by virtue of its set of characteristics produced in a masculine tradition, it is not surprising that women’s work in this genre has struggled to find recognition thus far. Bayman and Donnelly point out that discussions of early British folk horror films remain concerned with whether certain
to the extent of criminality. Violence is horrible, degrading and sordid. Insofar as one is going to show it on the screen at all, it should be presented as such – and the more people it shocks into sickened recognition of these facts the better. I wish I could have witnessed Mr Bennett frantically attempting to wash away the ‘dirty’ feeling my film gave him. It would have been proof of the fact that Witchfinder works as intended. 14
situations without resolution or recognition of the original trauma), we argue that a strict Freudian interpretation of dreams in Bronx Gothic would overlook that which is most interesting, original and useful about the performance. As a work of theatre, Bronx Gothic cannot be reduced simply to plot points or dialogue; rather, Bronx Gothic demands that audiences and critics listen to the body and to symbolic logic beyond the
foreigner but one of them, although she had never previously set foot in this country. Though perplexing, this mutual recognition procures Young Ladivine a pleasure wholly new to her. It is possible that Young Ladivine had phantasised, in the Freudian sense of conscious or pre-conscious wish-fulling daydreams, about a country in which she would ‘finally’ feel ‘free’ and belonging, this ‘happiness’ that had
(Michael Reeves, 1968), signals simultaneously a recognition of the destructiveness of a particular type of masculinity, the negative qualities of which are largely defined through the representation of relations between Frankenstein and the female, and an inability to find a credible alternative within the cycle’s terms of reference. Frankenstein Created Woman and Frankenstein Must Be Destroyed can be placed as one half of an unofficial quartet of late 1960s British horror films, the other half
his dead fellow inmates as ‘those who saw the Gorgon’ (Levi, 1988 : 64), Aue’s reference to Medusa (who is herself a Gorgon) suddenly becomes relevant to the Nazi Judeocide and suggests his attempt at misappropriating the status of a Holocaust victim. That said, Aue immediately undercuts this attempt by acknowledging his cognitive impotence in relation to the mystery of death. Accordingly, in line with Levi’s recognition of
a recognition, both by the male characters in The Gorgon and in a sense by Hammer itself, that the woman as previously figured in the classic Hammer oedipal scenario was very much a male projection or fantasy, with this projection now perceived as itself a monstrous imposition. This recognition, coupled as it is in The Gorgon with the absence, so to speak, of the absent father, provokes a collapse; that is, the structure that has previously guaranteed a patriarchal order – within which
, where the dream represents ‘the means to re-establish the constantly shattered equilibrium between the two’ (Shulman and Stroumsa 6). Conclusion Employed as a storytelling tool – especially in connection to both recollections of the past and divinations of the future – dreams in The Witcher rely on their own specific narrative structure: a system of recognition, reference, and, to