Sarah Wright

3 Memory and the child witness in ‘art-house horror’ ‘Cinema can lay claim to the child, as the child lays claim to cinema’, writes Vicky Lebeau, citing the sequence where Ana (Ana Torrent) and her sister Isabel (Isabel Tellería), two girls living in the post-war Spain of the 1940s, watch James Whale’s Frankenstein (1931) in a makeshift cinema in Víctor Erice’s El espíritu de la colmena: ‘the sequence yields one of the most compelling images of children’s look at the screen, or the look of the child caught up in the wonders, and horrors of the moving image

in The child in Spanish cinema
Author: Sarah Wright

In the full-length treatment of the child in Spanish cinema, this book explores the ways that the cinematic child comes to represent 'prosthetic memory'. The cinematic children in the book retain traces of their mechanical origins: thus they are dolls, ventriloquists' dummies, cyborgs or automata. Moreover, by developing the monstrous undertones evoked by these mechanical traces (cinema such as 'Frankensteinian dream'), these films, in different ways, return repeatedly to a central motif. The central motif is the child's confrontation with a monster and, derivatively, the theme of the monstrous child. Through their obsessive recreation over time, the themes of the child and the monster and the monstrous child come to stand in metonymically for the confrontation of the self with the horrors of Spain's recent past. The book focuses on the cine religioso (religious cinema), in particular, Marcelino, pan y vino. The children of cine religioso appear like automata, programmed to love unconditionally an absent mother. The book then examines the Marisol's films from the 1960s and the way she was groomed by her creators to respond and engineer the economic and cultural changes of the consumerist Spain of the 1960s. It further deals with Victor Erice's El espiritu de la colmena and works through cinematic memories of this film in later works such as El laberinto del fauno, El orfanato and El espinazo del diablo. The films are seen to gesture towards the imaginary creation of a missing child.

Robert Poole

magistrates in both cases were part of the same Protestant social network, and both had family experience of suffering at the alleged hands of witches. The breakthrough in both cases came when Roger Nowell, the Pendle magistrate, extracted from the two child witnesses, James and Jennet Device, a string of allegations, and it was this evidence above all that hanged both Jennet Preston and the Lancashire witches. Young Jennet Device’s canny observation that the recently hanged Jennet Preston was missing from the ranks of the Lancashire accused provided one of the climactic

in The Lancashire witches
James I’s Daemonologie and The Wonderfull Discoverie of Witches
Stephen Pumfrey

attempt this woman in that sort, the Divel had small meanes’. Consequently, Potts emphasised Bromley’s particular caution in Nutter’s case. ‘Great was the care and paines of his Lordship, to make triall of the Innocencie of this woman, as shall appear unto you … by an extraordinary meanes of Triall, to marke her out from the rest’. 38 This was an identity parade made up of witches, other prisoners and ‘some other strange women’. Under cross examination, the child witness Jennet Device ‘in the presence of this great Audience, in open Court, she went and tooke Alice

in The Lancashire witches
Matthew R. Smith

fair trial was in any way compromised simply because Mr X was not allowed to ask the question ‘Simon did not punch you in the way you suggest?’ … It is particularly important in the case of a child witness to keep a question short and simple, and even more important than it is with an adult witness to avoid questions which are rolled up and contain, inadvertently two or three questions at once. It is generally recognised that, particularly with child witnesses, short and untagged questions are best at eliciting the evidence. By untagged we mean questions that do not

in Law in popular belief
Alison Findlay

and condemned at the Lancashire Assizes on 24 March 1634, along with sixteen other people. One of these was Jennet Davies, who may have been that Jennet Device whose evidence in the earlier 1612 trial was instrumental in the condemnations of her mother, brother and sister to their deaths. In 1634 Jennet Davies found herself transformed from child witness to witch; the second Lancashire witchcraft trial clearly showed the potent legacy left by the first Lancashire witches. Although the presence of the second group of witches in London was current news, they were

in The Lancashire witches
Rob Stone

the footage as vital evidence in an imagined family melodrama that may have resulted in Fleury’s disappearance on 8 November 1930. Film form becomes the message. Rewinding footage, freezing frames, zooming in on details and repeating images begin to denote an obsessive search for clues: did Uncle Étienne dally with a maid, and was there a child witness? Eventually, inevitably and purposefully, Guerín replaces investigation

in Spanish cinema 1973–2010
Mysteries and circumstances
John Carter Wood

. (Wellington referred to him as a ‘disgruntled suitor’.) When he came to Fetter Hill to see Dorothy, Beatrice refused to let her see him.6 Wood, The most remarkable woman in England.indd 50 25/04/2012 15:45:52 Mysteries and circumstances 51 Rather different insights were given by Dorothy’s younger siblings, Doris and Leslie. Eleven-year-old Doris was described as a ‘model child witness’: ‘bright’, ‘quick’ and with a detailed memory. She reportedly ‘won everybody’s heart’. She inspired a few of the inquest’s rare light-hearted moments, such as describing the label on her

in ‘The most remarkable woman in England’
Tom Woodin

’t like it she said I hadn’t even tried it.43 This is the narrative of a person forced to explain themselves to people in power and to rule-bound agencies. It resembles a defence, in which she appears as a child witness at her own trial, presenting the reader with the evidence to judge the validity of her case. It is not so much spoken language as an internal voice; having allowed the reader to enter her private thoughts, Jackie then has to work doubly hard to defend her actions and guide her account. There is a naturalistic flow to the text that the author cannot

in Working-class writing and publishing in the late twentieth century
Cara Diver

’s story. However, as Elizabeth Foyster has warned, we must be cautious when using child witness statements. Children’s words in court, like all those who gave testimony, were shaped by the conventions of the legal system, and the language they used was informed by what they had learned from adults. Moreover, when children testified about their parents in court, ‘their duty of loyalty to one parent required them to display a lack of predisposition to one parent or the other.’ Children, especially older children, were likely aware that their statements had the power to

in Marital violence in post-independence Ireland, 1922–96