Horror Quiz 2

Main Class/Reading Notes: Black history, high rises, and public housing in Chicago during the 60-80s Shitty Mayor Daley and his son infringing on Black lives in the city and making it worse from the 60s to 80s Tells the personal stories of 2 women who lived as children in these high rise public housing, specifically Cabrini Green All personal accounts of Cabrini Green Quotes to look at: "Here we places marked at times with utterly inhuman conditions, and yet residents considered these buildings home" "The high rises were full of people simply aspiring to an American ideal, ..." "Good homes building good citizens" was what the banner for public high rise housing declared, they felt very conglomerated with News Stories- Ann Marie saying "we aren't like those ******** downstairs" "In Chicago, one's zip code is as determinative of one's health outcomes as one's DNA" Richard M. Daley, son of the previous mayor, desired to "rebuild people's souls"

Audrey Petty- High Rise Stories

Key Terms: Representation and reality, misogyny, recuperation, Nightmare on Elm Street, Halberstam, female paranoia, Freud, economy Establishes that most people think horror films are mega sexist "While it is clear that horror films contain representations of misogyny, it is a mistake to automatically assume that they endorse misogynistic acts" (211). Asserts horror films expose misogyny as misogyny therefore it is representation not reality- the representation serves as a critique of the misogynistic act Cites the possible ambivalence towards femininity and that "To the extent that this ambivalence is characteristic not only of Hitchcock's work, but also of horror as a genre, and even of postmodern culture more broadly, it suggests that traditional theoretical oppositions between feminist and misogynist, hegemonic and counterhegemonic are no longer tenable terms of evaluation for cultural products, if they ever were" (211). Can the horror film be recuperated for female or queer pleasure? Fear of being watch allows the woman to look back and survive in horror film (final girls) the ones who aren't worried about being watched, die Female paranoia and male paranoia are diff- male paranoia is this Freudian fear of homosexual desires- cites Strangers on a Train this fear of homosexual desire can turn violent "Representations of male paranoia are valuable, therefore, insofar as they enable us to see the costs of acting in accordance to, or organizing social life around, unreasonable or unjustified fears" (212). Reps of female paranoia are valuable because you can see those fears being justified and legitimate Freud thinks paranoia is genderless but the women in his case study talk about pretty normal fears that they're scared of and the men talk about pretty fantastical fears so Halberstam thinks fear is gendered "female paranoia is valuable because it looks beyond isolated bodies or desires, and can draw attention to the roles that a variety of social factors play in producing horror and monstrosity" (213). Tina has a proportional fear of Freddy to what he first does, ripping her nightgown, but that is a mistake and she should have been more paranoid were she to survive Nancy paranoia leads to her isolation but also saves her Is she asleep? How do we interpret the ending of NoES? The lamb in Tina's dream as Tina's metaphorical double- just likes it's death, she is the sacrificial lamb that starts up Nancy's paranoia Female paranoia and male interruption- Rod interrupting Tina talking about her Freddy nightmare Female paranoia is a successful survival skill but must be paid for with blood- ie Tina Marge (the mom) as not an ally but a barrier- she blows off Nancy's paranoia as crazy and as Nancy not getting enough sleep Nancy's experiences bring to light larger problems with the patriarchy "Male intervention works either to stop women from snaring crucial information (Glen and Rod), or to provide a completely untrustworthy sense of security (Glen and Dad/the cops). Alternately, it proves completely ineffective and/or dangerous (the Doctor)" (218). Nancy having to turn her back on Freddy and take back all the energy she gave to him, implies that she was responsible for him in the first place To take the ending without the very end (with the car) would under cut the collective dream aspect of Freddy and make it all one girl's paranoid dreams Some of Nancy's most important battles are not with the monster but with social actors Basically the ending is not clear cut because horror is not clear cut "The tension between reason and delusion within horror films suggest that these films resist the clear cut labels feminist or misogynist" (219). Possibility for female recuperation in the horror film Horror genre as ambivalent: recuperation as people reading the horror film as misogynistic but is there a way to read it in a feminist way? Eh....

Jonathon Markovitz "Female Paranoia as Survival Skill"

The Shining

Stanley Kubrick

Key terms: masochism, self-reflective violence, monster's pain, sadism, spectatorial distance, menstruation Pain of being a monster- talks about guy who played Dracula Divides monsters into male and female Male monsters- feel no pain so are masochistic and self-mutilating, this absence of pain turns into violence towards others (like Freddy Krueger) She compares this pleasure in pain both to the transformation of monsters (Jekyll and Hyde) and Freud's Pleasure Principle Freddy Krueger and the hitchhiker from TCM are both invocations of this "Monstrosity originates when the ability to resist pain turns into a desire to harm others" (18). Compares this to many critics focus on the masochism of the horror film viewer- talks about Carol Clover: "Revising Laura Mulvey's view that the male spectator's gaze is sadistic, Clover argues that his identification with the Final Girl demonstrates a masochistic impulse" (17). Peter Hutchings- takes clover farther saying that the monster's self-mutilation can be masochistic identification Spectatorial limbo- monsters live in the gap between sense of one's reality and the reality of others, monster is self-referential but shrugs off any sympathy TCM- when hitchhiker wants money for the picture we become extra aware of our role as viewers but with the male monster we are given some space Cronenberg's The Fly shows us the fly-man monster but we are not complicit or too close as we might would be with a fly-human baby: Spectatorial distance: male monsters focus on victims more, but forced to face the female monster AND Final Girl Female monsters- are sympathetic, they feel pain and we are forced in close proximity to have to watch their pain, menstruation usually paired with their monstrosity, their acts of violence are usually revenge based Cites Carrie and her revenge pathway to violence "When the female monster engages in masochistic acts, she does so either by coercion from an outside force or as a way of terminating her monstrosity"- Carrie Menstruation serves as the female precursor to her monstrosity: Carrie, Ginger Snaps, and Rosemary's Baby Vampire as 'menstrual monster' "The horror film positions menstruation as the structural double of the masochistic moment offered by male monsters" (21). Carrie's shower scene- masturbation like self-abuse, causes her menstruation and her monstrosity Suffocating intimacy with the female monster, garnering sympathy which is at the core of the female monster's monstrosity Conservative treatment of gender in horror film that goes along with the separation of the male and female monsters

Aviva Briefel "Monster Pains"

Main Class/Reading Notes: Main takeaway: There's privilege in being haunted Victims are often white, middle class; own a house!- you can move and have a family, associates privilege with financial stability All victims are super uniform (aka white) but the monster can be different- like Candyman who is black or Carrie who is a woman Explores how horror films explore white fears of racial diversification in their neighborhood, as well as low income people Destinations in horror films are usually fictional - except that Cabrini Green is real and is represented as not nearly as threatening as the media implies Helen tends to read the events at Cabrini Greene in relation to white mythologies- at the hospital she comforts the little kid by saying Candyman figure is just like Santa as opposed to understanding his fear of gang violence White liberal guilt, white savior complex - the difference is only geographical Helen puts herself into the role of the haunter as an "attempt to rectify the originary supplantation of the haunter figure's fear [of black male aggression towards white women], by putting herself in his role" Helen as a more powerful Final Girl because she becomes the scary tale- she inserts herself into the mythology, she is appropriating the myth and has erased Candyman Quotes to look at: "These [horror film] narratives subsequently establish anxiety as a form of emotional property" "Whereas the horror genre standardizes the constituency of the victim group, the subject position of the haunter fluctuates" "The haunter functions as an emblematic representation of change itself" "Candyman is thus trapped in the same subservient position as the ex-slave's son [...] he is a black man for hire, at the beck and call of consumers in a service economy" "Helen strategically deploys white liberal guilt to access the space of the other and install herself as both savior and culprit" "To reach this inaminate state, she must thus reconceptualize her role in the Gothic story by turning what initially seems to be sexual pleasure into the degradation and pain accompanying acts of martyrdom"

Aviva Briefel and Sianne Ngai "How Much Did You Pay for this Place?"

Candyman

Bernard Rose

Carrie

Brian De Palma

-Talking bout the proliferation of surveillance. -Commodified surveillance: consumer has the personal camera to document own life, she can purchase the camera (the surveillance object) for her own use -Consumers become empowered through forms of surveillance (handheld cameras, phones, social media) "Commodification and consumption of surveillance as cultural form, particularly in its visual modes. - "Cinematic representations of surveillance have incorporated the 'everyday' consumer, or 'peer-to-peer' side of surveillance practice into both aesthetics and narratives that exceed and complicate references to a viewer society." - Found footage gives the point-of-view shot as the only access into the film. Most films use it every so often, and shortly. Sort of a forced identification with our protagonist and the director. -Obsessive documentation of the events: always a scene where they justify why the camera is on, long after anyone normally would have stopped. - "What the films thus represent is the increasing ubiquity of visual recording technologies in the hands of the 'average' person and the drive to record, on such consumer-level technologies, virtually everything" - Modern surveillance inherently identifies with the process of self-identification. -Surveillant practices move into the hands of the consumers, which put forth surveillance of themselves through their subjective position. -Social networking as a consumer form of surveillance. -People originally thought the newsfeed was creepy af when it first came out, but now it's one of the biggest points about it. - "Historically, it seemed almost as if the credibility of video's status as 'real' increases exponentially with its decreased quality of image" (83). - Immediacy as a claim to legitimacy. Started with television, but amplified more by our ease of sharing media: both fall short of representing reality - The scene where they run from the witch doesn't accurately represent what a person running away would see: the wild movement of the camera places it as a hyper-viewing object, without the stabilization of the rest of the body. - Constant POV identifies us with the character, but also erases that character. We don't see them in the frame, and their experience is traded for that of the camera's. - Camera is seen as the end of life for the characters. The film ends once the last camera drops to the ground. We get no closure or titles or anything. -Consumer cameras in phones (shift to digital) allow us to be the object and subject of the camera #selfie

Catherine Zimmer "Commodified Surveillance"

The Fly

David Cronenberg

George Samsa wakes up one day and is straight up a bug and his ******* boss makes some clerk come and check as to why he isn't at work like and like threatens to fire him but then they all see he is a bug and the clerk runs out Gregor's sister starts to take care of him and he realizes that normal food and stuff grosses him out and so he starts eating rotten food- abject af He also starts climbing on walls and stuff and his sister removes things from his room to make him have more space to play but then like existential crisis b/c those were all he had left of his humanity At some point he freaks out his mom and his dad gets pissed and throw and apple at him which gets lodged in his back and eventually is probs what kills him His dad has to get a job and also becomes abject as he always stays in the same ****ing uniform and it gets gross and they get this cheap cleaning lady and borders because gregor isn't providing for them anymore and he eventually comes out and freaks out the borders Grete then convinces the parents that they should live life without Gregor but the next morning they leave and the parents realize they have money and a hot daughter and its all creepy af Should be really easy to identify because weird af- really good examples of the abject but not a whole lot else, aside from maybe like the middle class fam portrayals or something idk

Franz Kafka "The Metamorphosis"

Pastiche: Taking of different styles and bringing them together into a new place Speaks to the tumultuous times of the time it built in, Epcot- applies to the shining with the native american and decades Distinction between trying to keep the past and present. In The Shining, the tenses don't hold. As soon as the 20s come back, Jack becomes misogynistic and racist. Nostalgia of the 20s for us, structures for Jack.- Classism, racial undertones and white masculinity "Beauty and boredom: this is then the immediate sense of the monotonous and intolerable opening sequence of The Shining, and of the great aerial tracking shot across quintessentially breathtaking and picture-postcard "unspoiled" American natural landscape; as well as of the great hotel, whose old-time turn-of-the-century splendor is undermined by the more meretricious conception of "luxury" entertained by consumer society, and in particular by the manager's modem office space and the inevitable plastic coffee he has his secretary serve." Use of the ghost story, break from current tradition by calling on past tradition "Kubrick's freedom to reinvent the various generic conventions is at one with his distance from all of them, and with their own historic obsolescence in the new world of television, wide screen, and the blockbuster film. It is as though, to recover some of their older powers, classical genres such as this one needed to take us by surprise and to exert their conventions retroactively. Even a relatively straightforward pastiche of an older sub-genre such as Chinatown secures its effects ambiguously behind the protective appearance of the nostalgia film." Return of the repressed isn't by the Native Americans that the Overlook is built on. "The essential precondition of an extended family thus becomes the symptom and the allegory of the survival of "organic" social relations, of what Raymond Williams calls the "knowable community" (whether this takes the form of the village or the classical city, or of the vitality of national groups)."

Frederic Jameson "Historicism in The Shining"

Female gothic in that frame narrative: a story within a story!!!!!!!!!. Governess goes to a mansion to take care of it and the two kids. Maybe **** the uncle. El classico ghost story. Governess sees the ghosts of the old caretakers. Unclear whether or not the kids can see anything. She describes the old servants to her friend with perfect detail. Little boy having problems in school, but we don't know what for. Girl takes the boat across the lake, but how could she row it??? Scorns the governess for bringing up the old caretaker. Boy's heart stops at end, maybe from seeing ghost? Big question of children and what do children know. Sticking this stick into the stick hole to make a boat. Or is it sex? We are left within the frame of the frame and end there with the death of the boy. Can't get out to the safety of the frame. Governess is repressed, and paranoia goes wrong. Text constantly puts us in state of hesitation. What do people know? Can be seen as a narrative about movement. The old servants not knowing their place: often seen within the house in ghostly form. Her paranoia saves her from the ghosts: level of hypersensitivity to everything.

Henry James "The Turn of the Screw"

"Thus, metamorphosis is largely a metaphor of mental instability and dislocation for Kafka, but often a new, exciting experience in Cronenberg" (212). Regression of Gregor- reversion back to the racist notion of the "dirty Jewish" but Brundlefly is something Seth wants to be Insect in Metamorphoses explicitly told not to be illustrated. Still fairly descriptive (and humorous) opening of Gregor becoming accustomed to his new body. Apple at the end of Part II as a symbolic wound: marking the physical deterioration of his body and the social death. "Cronenberg agrees that 'metaphor is ... the bedrock ... of all literature' and that 'pure ideas are invisible', yet 'you can't do [it] on the screen in the same way. I have to make the word be flesh, and then photograph the flesh because I can't photograph the word' (Grünberg 2000: 91, 92)." Cronenberg documents the physical deterioration, while showing us the mental deterioration of the metamorphosis at the same time. " Without this content - the threat of modernity, the anxieties of alienated modern man - modern film would not resonate with the audience. Content and form are thus inextricably linked" (213). Clear difference b.t. Both protags; Brundle is clearly a successful middle class scientist, while Gregor is an oppressed worker; mistreated by his family and bosses.- changes why the metamorphosis of these characters is diff Gregor's metamorphosis as a regression into the "filthy vermin," Brundlefly is a rebirth. " While Cronenberg's protagonist's metamorphosis may have (r)evolutionary consequences for science, Gregor's is a death sentence."(215) Cronenberg also uses humor in the deterioration of Brundlefly. Brundle willing to analyze his change, and embrace his new life as an insect, unlike Gregor.

Iris Bruce "The Medium is the Message"

Key Terms: Gender, similar and different, gender hyperbole, uncanny, The Shining, Sandman, reflections/mirroring, sideward look and movement Familiar and different in genre, gender, and the uncanny- how they play with the similar and diff Many have talked about gender slippage but not the opposite- gender hyperbole: the masculinity or femininity to the extreme! Jack's aggression, Wendy's super submission There is something oddly familiar about gender hyperbole which calls forth the uncanny The Shining though a book has variations and therefore no singular origin The Sand-Man story can be read as castration fear and fear of gender difference or as a fear of gender hyperbole and a call for a new kind of sight Nathaniel (in the Sandman) has an eyeglass that makes Olympia seem perfect but this actually distorts his vision, not clarifying it and makes inanimate seem animate- playing with the ideal woman as this robot woman just sits silently but seems like she's really listening But the automaton woman makes Clara, a real woman, in her feminine acts seem automaton-like The Shining creates feelings of uncanny mostly in mundane middle-class family activities and supernatural moments show the difference b/t uncanny as material and uncanny as a feeling The camera is rigidly fixed on white middle class family in a claustrophobic space to demonstrate gender instability "The Nicholson performance entails a deconstruction of masculinity by making a spectacle of machismo, swagger and bravado" (151). Complicity between viewer and Jack- increasingly unnerves us as he becomes more violent Wendy, in her acts of feminine duty and subservience, serves as a double for "real" women The couple's real image vs. their reflected one Jack mocks Wendy's timidity in the extreme Mirrors and mirroring in the film show us what is off- like the fam dynamic in the breakfast scene or Jack's delusions with the beautiful woman who then is a rotting corpse The film undermines Jack's hyperbolic masculinity in mocking it like with his work failures Jack Torrence v. Jack Nicholson- Mr. charisma and star power Extra-textual element of gender in the film- Kubrick's lauding Nicholson and being hard on Duvall gives a power dynamic that doubles the movie → mirrors Play with familiarity and closeness- viewer is close to/ kept with Jack but the male is associated with distance Uncanny visuality- alternate way of seeing like in Sand-Man The final scene- with the smirk of the head in the ice and the picture play with closeness and the inability to hold him in the frame but also play with the uncanny just like the whole film does

Katie Model "Gender Hyperbole and the Uncanny in the Horror Film"

Key Terms: Legend/myth, Candyman, history, Freud- case history, Lacan, mirroring, death, hegemonic formations "Together, they imply that Candyman is about the status of narrative and its roots in representational modes and in historical particulars" (89)- placing Helen and Candyman in the oral tradition Candyman's story overlaps modern racial strife in Cabrini Green with the history of slavery "The film explores, then, how historical narratives may be constructed and how the individual be- comes subject to history" (90). Refusing to show identificatory figures to highlight the dislocation of historical narratives Ambiguous narrative voice undermines reliability of narrator and sense of truth Lacan claims that truth is less likely to be found in the narrative than in the letter- the signifier of the narrative Cites Helen's fascination with graffiti aka representation of candyman and her reproduction of it through photography Academic historiography cannot distinguish between Helen who is writing about oral traditions and the douchey guy who is assembling facts- the film constantly plays with real v. representation Playing with personal memory both as a tool for retrieval and as unreliable Candyman embodies the repressed and the scene where Helen is wrestling him which gets captured on camera show he has no real space and that she struggles with being forced to come face to face with the repressed and the historical "As with Helen's slide projector, in the background of the technological, the Candyman looms: the apparition from the world of shadows, ready to be brought into focus, darkness made visible, the objective made subjective and sent back again" (95). "Lacan's conception of the mirror stage—that creating a unified self necessitates recognizing a split self"- candyman's use of mirrors and the split self, also the return to childhood, to the mirror stage- similar to Helen being treated like a child in academia Cabrini Green is mirrored by Helen's apt and by the space where Candyman was killed- mirroring throughout history and time Cites Certeau on the social history and its relation to space "The space of the mirror also represents the deformative and fragmentary status of narrative itself" Common cultural references to a social position (like the black slave) can be true while the history itself may be false- Candyman as the inversing of religion The play with death and life- basically like the text is dead and the history and past is dead yet you can still live on- this is v at play in the film and the mirroring can be looked at like a death Candyman plays with death and symbolization with the play with oral history and religion "Hegemonic history-making tries, unsuccessfully, to return Candyman to his "proper" place, to recirculate his text so it reaches its proper destination" (103).- helen occupying this very belittling position as the white woman inserting herself in the real struggles of people and this oral history Excess and surplus in the social sphere- as associated with Helen Playing with the real particularly in Lacan's notion of it, bodies as material- Candyman as a representation vs. him as a literal corpse filled with bees "Perhaps, then, it is more appropriate to say that horror comes not simply from the return of the repressed as much as from the circularity of the process of repression, return, and recuperation" (113). Okay so this article is long af and confusing af she keeps talking about Lacan like we ****ing know what Lacan is saying which no one does but I think I got all the main points and also this really is only helpful with the talk of the historical and mirroring so briefel will probs ask about that but I doubt she even does this article because its so confusing and we didn't really talk about it in class

Laura Wyrick "Summoning Candyman"

Key Terms: "Person as meat" where the "extreme iconography of personal vulnerability Postmodern horror: horror happens in the everyday and to our very bodies, shift that's been happening in horror, like the body horror of the fly The Predatory Female Body and The Invasion of the Male Mind as central themes for Cronenberg Otherness Main Class/Reading Notes: Really examines Cronenberg's tactics in the body horror genre; layout of the scientist gone wrong or that all his protagonists suffer an invasion or fragmentation of their subjectivity → Argues that The Fly disrupts that by collapsing the distinction between the scientist and the monster- fusing the two both physically and mentally Seth goin cray Cronenberg's work exhibit a paranoia toward the social world and question human identity Main argument: The movement in the film from a horror of the female body to that of the male mind has meant a progressive uncoupling of not only the monstrous and the body, but also the monstrous and the feminine- disgust of the male body and his mutilated bod which is what we usually see with the female body Horror in the potential eruptions of an unpredictable body, or what it done to the body from the invaded mind Her pregnancy with the fly bb could be interpreted in that way but lol Most male monsters tend to have something going on in their head- Seth was in a jealous rage which led him to do the thing, his main flaw was wanting to transcend the physical body so his fault was in that logic Pods are womblike but clearly dissociated from organic Monstrousness in toxic masculinity Quotes to look at: "These films avoid the tendency to displace anxieties about technology onto the monstrous female body or the victimized male mind. Rather, they hold that mind and the social practices it represents up to critical scrutiny. The horror originates in the minds of the male characters whose defining trait is their alienation from the body." "It is in Seth's desire to transcend the physical body, and not in the body itself, that the threat originates" "'Insects don't have politics,' as Brundlefly claims, but people do."

Lianne McLarty "Beyond the Veil of the Flesh"

Panopticon- the prison itself Foucault's story is modeled on a prison designed by this guy Bentham which was supposed to create this new form of discipline because the prisoners knew that they might be watched at any time and there was no real way of knowing Tower in the center- darkened so you cannot tell who is in it and but your room is always lit so you always must assume you are being watched State of consciousness and permanent state of visibility- constant power over you This is a structure that functions in all areas of social structure- this form of discipline could replace violence Connects space to discipline and isolates people based on their social status and race Can be connected to the housing project in Candyman or could make the argument about the college they work at or maybe even the state of collective dreams and always having to fear Freddy The prisoners must be isolated to keep them from working together Architectural apparatus as a machine for creating and maintaining a power dynamic Basically any quotes about prison or architecture or prisoners and this is your guy

Michel Foucault "Panopticism"

When viewed from above, city loses its normal identity and becomes more like a map. Level of the urban walker: power to perform pedestrian speech acts (move within the city akin to speech). Site of resistance. Walking is like speech. Walkers are able to manipulate spatial-temporal organizations of the city. Cities are based off the operations of: Creating a space for itself Creation of the anonymous subject of the city itself Trap the history of place

Michel de Certeau "Spatial Practices: Walking in the City"

In-Text Notes The role of the family and domestic space in horror films, used to just be family drama- horror films starting to infiltrate those spaces Supernatural forces terrorize domestic spaces- the family is monster: Familial nature of horror- "perverse social relations breed monstrosity" Pretty much any mention of feminine/menstrual monstrosity and you gucci Violence and sexuality morphed in the movie- Carrie's sexuality is monstrous The role of the female bullies and violence- female monsters Confusion of nonmale as nonhuman and bodily difference as nonhuman Gender and gendered sexuality Menstruation as aymbolic castration; mother and Ms. Collins into physical punishment of the body Sue (the nice high school girl) is like Ms. Collins in the do-gooder sense and in her chastity, Chris (the horrible one) is the inversion of Ms. White inher excess of sexuality the notion of obsessed with pain and punishment Masquerade- female dresses herself up and is excessively feminine and therefore turns herself into a fetish object- Carrie is performing femininity, act of putting on makeup also associated with Chris Carrie tries to masquerade as the culturally acceptable female but this is just an act Quotes to look at: "What erupts on prom night in a monumental telekinetic display is not a wholesome sexuality unfairly repressed by the girl's mother, but an absolute monstrousness the film finds lurking at the heart of female sexuality" "Failure of repression to contain the monstrous feminine" "Carrie engages the language of fantasy to represent the terrain of female adolescence" "By mapping the supernatural onto female adolescence and engaging the language of the fantastic, Carrie presents a masculine fantasy in which the feminine is constituted as horrific" - Declared as her main argument!

Shelley Lindsey "Horror, Femininity, and Carrie's Monstrous Puberty"

Key Terms: Crisis cinema: expressing despair, disbelief, and pessimistic retreat to outmoded past values Main Class/Reading Notes: Opposite of everything we've read so far! Calls the 80s a decade of cinematic wasteland for horror films The parents in Nightmare on Elm Street are shit and don't pay any attention- not caring for the child, neglect Saying anything negative about the films, it's this dude Critique about the Final Girl: "supposedly progressive" but then upholds misogynistic representation of women on film Basically quotes a shit ton of essays, focuses on Clover's point on masochism and sadism in the film, also focuses on general masochism and child abuse Calls the **** outta Freud. Says his research is bogus cuz his sexist ass was only looking at the patriarchal family- would gloss over signs of child abuse saying that just how the family is Discusses Reaganite hegemony- toxic masculinity in the Reagan era Quotes to look at: "...constant vigilance against supernatural patriarchal avatars..." "Paradigm of the threatening adult": connected to Nightmare on Elm Street, Freddy Krueger murdered kids, passive adults aka the parents

Tony Williams "Trying to Survive on the Dark Side"

More than likely Fantastic will be a term: The uncertainty of knowing whether something is real or not, not knowing if something is supernatural or not "Either the devil is an illusion, an imaginary being; or else he really exists, precisely like other living beings... The fantastic occupies the duration of this uncertainty." (25). State of suspension between 2 possibilities/ state of hesitation. Doesn't need to be permanent. Reject allegorical or poetic meaning: must think things are really happening Character is in the state of uncertainty, maybe the reader/viewer is too. Constant blurring of the line between reality and dream. Pretty much all of Nightmare on Elm Street "All of this, of course, does not transcend the laws of nature as we know them. At most, one may say they are strange events, unexpected coincidences. The next development is the decisive one: an event occurs which reason can no longer explain" (28). Any story with Alfonso is this one.

Tzvetan Todorov "Definition of the Fantastic"

A Nightmare on Elm Street

Wes Craven