PDF Maternal Horror Film: Melodrama and Motherhood

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Using psychoanalytic film theory as well as comparisons with the melodrama film, Arnold investigates the polarized images of monstrous and sacrificing mother. Her research interests include the history of the moving image, postmodernism and film, and women on film.

She has presented at a number of international conferences, and recently contributed to the edited collection, Bound by Love edited by Laura D'Amore. She has also written for the journal, Jura Gentium Cinema. Table of Contents Introduction 1.

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The Good Mother 2. The Bad Mother 3. See All Customer Reviews. Shop Books. Read an excerpt of this book!

Add to Wishlist. USD Sign in to Purchase Instantly. Overview Maternal Horror Film: Melodrama and Motherhood examines the function of the mother figure in horror film. Pregnancy in the Horror Film Conclusion. Average Review. Write a Review.

Related Searches. Deus Ex Machina: A Melodrama. View Product. Fascism in Italian Cinema since The Politics.

'Hereditary' and the Monstrousness of Creative Moms - The Atlantic

From neorealism's resolve to Berlusconian revisionist melodramas, this book examines cinema's role in constructing memories From neorealism's resolve to Berlusconian revisionist melodramas, this book examines cinema's role in constructing memories of Fascist Italy. Italian cinema has both reflected and shaped popular perceptions of Fascism, reinforcing or challenging stereotypes, remembering selectively and silently forgetting the most Genre Trajectories: Identifying, Mapping, Projecting. This book provides a fresh interdisciplinary perspective on genre and identifies developments in genre studies This book provides a fresh interdisciplinary perspective on genre and identifies developments in genre studies in the early 21st century.

After reading a storybook called Mister Babadook together, strange things start to happen in their house. Events escalate and the Babadook, the monster of the storybook, appears and begins to terrorise Amelia, who in turn becomes increasingly violent towards her son. Finally, Amelia is able to confront the Babadook, and a kind of peace is restored. The film invites an association between the emergence of the Babadook and Amelia's grief at the death of her husband and rage towards her son.

As such, virtually all of the critics and reviewers of the film have read the Babadook as embodying the 'return of the repressed' - that is, as the uncanny manifestation of Amelia's repressed emotions.

When Good Mothers Go Bad: Genre and Gender in the Babadook

However, while Kent herself has stated that she's 'quite bemused [ According to Kidd, '[minimising The Babadooks place within the context of horror is odd', given its explicit references to key examples of the genre, such as Le Cake-Walk Infernal dir. Trying to identify the film solely with one of these categories is not particularly productive, however.

For instance, through an analysis of film reviews published during the s and s, Mark Jancovich argues that the psychological thrillers he calls 'Gothic or paranoid woman's films' were clearly understood as 'women's horror films' at the time of their release. An unknown error has occurred.

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Phillips Praeger,