{"title":"M. Night Shyamalan 的 \"加里森三部曲 \"中的创伤性隐居：迹象》（2002 年）、《村庄》（2004 年）和《水中女士》（2006 年）","authors":"Juan Antonio Prieto Pablos","doi":"10.28914/atlantis-2023-45.2.07","DOIUrl":null,"url":null,"abstract":"Shyamalan’s Signs, The Village and The Lady in the Water turn around the need to find refuge away from violence, in an updated version of Northrop Frye’s garrison motif. Absolute safety is, however, threatened by spectral, even fictitious monstrous creatures that can be defined as projections of specific traumatic situations, provoked partly by the terrorist attacks of September 2001 but mostly by Shyamalan’s own response to social violence.","PeriodicalId":172515,"journal":{"name":"Atlantis. Journal of the Spanish Association for Anglo-American Studies","volume":"39 6","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2023-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Traumatic Seclusion in M. Night Shyamalan’s Garrison Trilogy: Signs (2002), The Village (2004) and The Lady in the Water (2006)\",\"authors\":\"Juan Antonio Prieto Pablos\",\"doi\":\"10.28914/atlantis-2023-45.2.07\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Shyamalan’s Signs, The Village and The Lady in the Water turn around the need to find refuge away from violence, in an updated version of Northrop Frye’s garrison motif. Absolute safety is, however, threatened by spectral, even fictitious monstrous creatures that can be defined as projections of specific traumatic situations, provoked partly by the terrorist attacks of September 2001 but mostly by Shyamalan’s own response to social violence.\",\"PeriodicalId\":172515,\"journal\":{\"name\":\"Atlantis. Journal of the Spanish Association for Anglo-American Studies\",\"volume\":\"39 6\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-12-28\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Atlantis. Journal of the Spanish Association for Anglo-American Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.28914/atlantis-2023-45.2.07\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Atlantis. Journal of the Spanish Association for Anglo-American Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.28914/atlantis-2023-45.2.07","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Traumatic Seclusion in M. Night Shyamalan’s Garrison Trilogy: Signs (2002), The Village (2004) and The Lady in the Water (2006)
Shyamalan’s Signs, The Village and The Lady in the Water turn around the need to find refuge away from violence, in an updated version of Northrop Frye’s garrison motif. Absolute safety is, however, threatened by spectral, even fictitious monstrous creatures that can be defined as projections of specific traumatic situations, provoked partly by the terrorist attacks of September 2001 but mostly by Shyamalan’s own response to social violence.
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