{"title":"Growing Bellies, Failing Mothers, Scary Offspring","authors":"Patricia Pisters","doi":"10.3366/edinburgh/9781474466950.003.0004","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474466950.003.0004","url":null,"abstract":"This chapter addresses so-called ‘gynaehorror,’ the type of horror that deals explicitly with female reproductive bodily functions. While first addressing Woolf’s childlessness, the chapter opens with references to the early work of Agnes Varda, Diary of a Pregnant Woman (1958) and One Sings the Other Doesn’t (1977) to then turn to the female version of Rosemary’s Baby with Lyle (Stewart Thorndike, 2014) and Alice Low’s pregnancy-horror film Prevenge (2016). Jennifer Phillips’s film Blood Child (2017) is a chilling story based on true events where a miscarriage is translated into the raising of a ghost child. Furthermore, this chapter looks at complicated mother-daughter relations in Ngozi Onwurah’s The Body Beautiful (1991) and in Deborah Haywood’s Pin Cushion (2017); and at mother-son relations in We Have to talk About Kevin (Lynne Ramsey 2011), Jennifer Kent’s The Babadook (2014) and Goodnight Mommy (Veronika Franz and Severin Fiala 2015). The chapter also discusses some other family relations from hell as depicted Dark Touch (Marina de Van 2013), System Crasher (Nora Fingscheidt 2019) and Family (Veronika Kedar 2017). Lucile Hadžihalilović’s Evolution (2015) takes pregnancy to a post human level and in that sense resonates with some of Butler’s writing, especially her short story ‘Blood Child’.","PeriodicalId":264029,"journal":{"name":"New Blood in Contemporary Cinema","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122206671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Longing and Lust, ‘Red Light’ on a ‘Dark Continent’","authors":"Patricia Pisters","doi":"10.3366/edinburgh/9781474466950.003.0003","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474466950.003.0003","url":null,"abstract":"This chapter presents a variegated depiction of female sexuality seen from their own point of view, beginning with Carollee Schneeman’s Meat Joy (1964). Woolf’s metaphors for the female sex and lesbian desire is brought to the scene in interracial encounters in She Must Be Seeing Things (Sheila McLaughlin 1987), The Watermelon Woman (Cheryl Dunye 1997) and Pariah (Dee Rees 2011). The stereotypical figure of the lustful and man-eating witch is reworked in The Love Witch (Anna Biller 2016) and Jennifer’s Body (Karen Kusama 2009). In Raw (Julia Ducournaou 2016) female sexuality is addressed in a ferocious and intense way. After the explicit poetics of horror of the films of the middle section, this chapter looks at three other films that have a more-implied horror embedded within their narration. In I’m Not a Witch (Rungano Nyoni 2017) witchcraft is seen from a totally different non-western perspective, whereas in In the Cut (Jane Campion 2003) we see a combination of poetry, sexuality and a different type of final girl. In the equally poetic Longing for the Rain (Lina Yang, 2013), a contemporary Beijing housewife makes love with a ghost that might not be so benign and slowly takes over her life.","PeriodicalId":264029,"journal":{"name":"New Blood in Contemporary Cinema","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127295434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Violence and Female Agency: Murderess, Her Body, Her Mind","authors":"Patricia Pisters","doi":"10.3366/edinburgh/9781474466950.003.0001","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474466950.003.0001","url":null,"abstract":"This chapter zooms in on the trope of the angry, avenging woman, looking at the revisions of the slasher sub-genre and the reinvention of the final girl. After recalling how Woolf explains how she must ‘kill the Angel of the House’ if she wants to execute her profession as a writer and have creative agency, this chapter will first pay homage to several films made by women in the 1970s and 1980s who take up a knife or gun to become symbolic and real murderesses in Jeanne Dielman (Chantal Akerman 1975), A Question of Silence (Marleen Gorris 1982) and Welcome II the Terrordome (Ngozi Onwurah 1995). The chapter will then move to the rage and fury of avenging women in contemporary cinema by looking at American Mary (Jen & and Sylvia Sotska 2012) and especially Revenge (Coralie Forgeat 2017) and the more subdued and ambiguous terrors of domestic violence in Retrospect (Esther Rots 2018). The first chapter concludes by addressing the opacities of a poetics of relation in the television series Alias Grace (Mary Harron 2017) based on a historical case of a murderess.","PeriodicalId":264029,"journal":{"name":"New Blood in Contemporary Cinema","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121921472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Growing Pains: Breasts, Blood and Fangs","authors":"Patricia Pisters","doi":"10.3366/edinburgh/9781474466950.003.0002","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474466950.003.0002","url":null,"abstract":"This chapter features a new take on vampires, werewolves and other contrived souls, especially in relation to tortured coming-of-age stories that address social pressure and childhood traumas. After a short encounter with Woolf in the company of a vampire, this chapter commences with a return to Stephanie Rothman’s psychedelic exploitation film The Velvet Vampire (1971) and Katherine Bigelow’s vampire western Near Dark (1987). The vampire as connected to the confusing experiences of coming of age is picked up Moth Diaries (Mary Harron 2011) and in a less explicit but no less horrific way in Sarah Plays a Werewolf (Katharina Wyss 2017). The promise of the myth of eternal life and beauty, and the legacy of Elisabeth Bathory is revised in The Countess (July Delpie 2009) and acquires a particular twist in contemporary Japan in Helter Skelter (Mika Ninagawa 2012). Claire Denis’s Trouble Every Day (2001) takes the genre to its ontological extremes. This chapter will also turn to Butler’s re-imagination of the vampire in her novel Fledgling (2005) and the imagination of alternative relations between the human and nonhuman and looks at the new ethics of the vampire in A Girl Walks Home Alone at Night (Ana Lily Amirpour, 2014).","PeriodicalId":264029,"journal":{"name":"New Blood in Contemporary Cinema","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131391041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Political Gutting, Crushed Life and Poetic Justice","authors":"Patricia Pisters","doi":"10.3366/edinburgh/9781474466950.003.0005","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474466950.003.0005","url":null,"abstract":"This chapter will return to Woolf’s Three Guineas and political agency and look at Butler’s Kindred and Parable of the Sower. Thechapter has three sections, each addresses different types of political horror. First there is a return to racial and colonial terror in Euzhan Palcy’s A Dry White Season (1989), Claire Denis’s Chocolat (1988) and White Material (2009). Then the chapter takes us to the outcasts and powerful lost souls in man-eat-men environments in The Bad Batch (Ana Lily Amirpour, 2016), Tigers are not Afraid (Issa Lopez, 2017) and Songs My Brothers Taught Me (Chloé Zhao, 2015). In Atlantics (Mati Diop 2019) the sea off the coast of Senegal raises many ghosts from the past and the present. The chapter concludes with a section of eco-horror through the eyes of female directors: Spoor (Agnieska Holland 2017) is an allegory of the feminist backlash in contemporary Poland, wrapped in a hunting tale. Little Joe (Jessica Hausner 2019) and Glass Garden (Shin Sue-won 2017) are contemporary Frankenstein stories with idiosyncratic female scientists.","PeriodicalId":264029,"journal":{"name":"New Blood in Contemporary Cinema","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123852590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bloody Red: Poetics, Patterns, Politics","authors":"Patricia Pisters","doi":"10.3366/edinburgh/9781474466950.003.0006","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474466950.003.0006","url":null,"abstract":"The conclusion returns to the poetics, aesthetics and politics of blood, showing that there are many different blood types in the poetics of horror made by women, but that each drop contains a world of pain, sorrow, and rage but also laughter and wonder, consolation and insight; each gush embodies a world of stories to convey, wisdom to impart and emotions to share. The overarching pattern is that female directed horror often addresses inner demons and extends the emotional spectrum of the genre beyond fear and disgust, and stretches the genre boundaries to introduce a poetics of horror in many different genres.","PeriodicalId":264029,"journal":{"name":"New Blood in Contemporary Cinema","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129842797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction Virginia’s Unruly Daughters and Carrie’s Crimson Sisters","authors":"Patricia Pisters","doi":"10.3366/edinburgh/9781474466950.003.1000","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474466950.003.1000","url":null,"abstract":"Virginia Woolf’s Orlando is the entrance point to questions of gender difference and creativity and introduces the theme of the horror genre in the hand of female directors. The book is situated theoretically as an update of Barbara Creed’s monstrous femininity and Carol Clover’s Men, Women and Chainsaws. It argues that the growing number of women appropriating the language of the horror genre, give expression to deep feelings of related to extreme physical experiences such as (gendered and racial) violence and abuse, bodily transformations and pregnancy, as well as socio-political relations. Rather than “going for the scare” women directors tens to address their inner demons and claim agency to resist different forms of trauma and injustice.","PeriodicalId":264029,"journal":{"name":"New Blood in Contemporary Cinema","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131690330","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}