Of Shakespeare’s sister that Virginia Woolf imagines in A Room of One’s Own, Woolf speculates: “Perhaps she scribbled some pages up in an apple loft on the sly but was careful to hide them or set fire to them.” For some scholars of women’s literature, it’s fairly common to assume that there was a vendetta against the combination of women and work in Anglo-American history, and that stifling the ability to work– often forbidding, particularly, artistic expression – resulted in concomitant madness for oppressed women. It’s a common trope, although there were some significant historical exceptions to the rule. I’m not an expert on the subject, but I’ve heard that Jane Austen had to hide her manuscript whenever a guest entered her room. And one must wonder, as VW did, what happened to the likely expansive throng of brilliant, would-be productive women who weren’t given a voice prior to, say, the Romantic or Victorian eras – or later. As an unrelated heads up, there will be spoilers throughout this piece!
When I was thirteen, my family and I took a trip to Florida. I certainly wasn’t too old to love Disney World (I’m still not) but I was most excited to visit Universal Studios. After all, commercials for Universal Studious basically consumed cable tv stations in the mid 90’s, and my imagination took flight when I saw the commercial for the Jaws ride. Out of the depths of murky nothingness, a giant shark rises beside passengers in a boat, its face partially distorted by the flamboyant, spasmodic flashing lights that eclipse its visage and make the shark look more than a little surreal, and infinitely menacing. I was simultaneously horrified and titillated by the prospect of actually riding the Jaws ride and experiencing the enormous, foreboding shark for myself. Continue reading “In the Jaws of a Classic: An analysis of Steven Spielberg’s Jaws”→
After watching Hereditary – which I never blogged about, in part because of a perceived inability to say anything unique about it – I thought I’d seen it all. Hereditary is one of the most disturbing horror films I’ve seen in some time, a sickening romp through the cackling, bloody underworld of death, grief, and witchcraft combined. Nonetheless, Michael and I watched The Eyes of My Mother yesterday, a movie I decided to put on my list for comprehensive exams when I heard about it at a pop culture conference. Let me tell you: it was disturbing. Nonetheless, it was a fascinating film that said a lot about certain types of madness and (perhaps) about how such madness evolves. I’ll be including, in my piece, Michael’s take on the main character, along with my reaction to his opinion and some observations about the film in general. As a warning, this film is not for the faint of heart, and it may sit with you for awhile after you watch it. That said, let’s talk about, perhaps, the general experience of watching The Eyes of My Mother along with some of the questions it raises. Continue reading “Monstrous Undertakings in The Eyes of My Mother”→
It was another day of mild to moderate chaos at the local video store where I work. Michael came in to procure movies that we would watch later that evening. He held up a few options in front of me and prompted me to pick the one in which I was the most interested. I immediately selected The Howling. Having never seen the film, I’d only heard it alluded to briefly in Scream, and I knew only that it was a canonical werewolf movie. I wasn’t really expecting to be scared, and to be honest, it didn’t scare me…that much. The film was a lot more well-made and in general a lot creepier than I’d anticipated. That aside, I kind of found myself wracking my brain for some sort of way to break the film apart or put it into perspective. As I watched I scribbled down notes, but I wasn’t getting the insights I’d hoped for. Despite my difficulties really analyzing this film, I think I’ll discuss in general why I like this movie, with an emphasis on the fact that it inverts the typical werewolf movie “rules” in a couple of ways and consistently highlights its own fixation on “the body” or “the flesh.” Continue reading “A Howl for the Howling”→
I went into The First Purge with moderate expectations. The previews had revealed a significant amount about the film’s premise, and I’d seen the additional three Purge movies before. I didn’t have much hope that a prequel would be uniquely terrifying, but I was expecting it—especially, given its name—to contextualize the bizarre process of “purging” that these Purge films have contrived, to explain how “the purge” came to be in a world where we’d like to assume that most people are fundamentally good and basically non-violent. That expectation was definitely met, and I thought that in achieving this goal, The First Purge made some bold statements about problems in our country and where we could be headed. I argued in an earlier piece that I saw some “problematic presumptions” embedded in the originally released purge, (simply titled The Purge). Well, this film answered my qualms in a clever, incisive way. I should also warn you at the outset that my analysis contains a lot of spoilers, so only read on if you’ve seen the film, don’t plan on seeing the film, or aren’t bothered by rather specific previews!
A few nights ago, I decided to enjoy a little casual viewing of a horror classic. Christine, the story of the monster car, is a horror staple that, with a well-written script and believable characters, delivers ample entertainment without ever really terrifying the viewer—at least, if the viewer is me. Because Christine doesn’t situate itself in the realm of the typical horror movie, rife with ghouls and vampires and traditional monsters of all sorts. Christine – if you don’t know this, and you probably do – is about a vicious, killer car with unusual superpowers. I chose the film, as I’ve insinuated, because I think it’s a fun watch for a low-key night – nothing as scary, say, as watching Sinister. And unsurprisingly, as I watched the film, a few thoughts came to mind that made me ponder. Continue reading “Cruisin’ With Christine: Attack of the Monster Car”→