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Maternal Horror Film: Melodrama and Motherhood

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Horror film is particularly prone to articulating fears and tensions about maternal figures, and reflects cultural apprehensions concerning the changing nature of motherhood. Via predominantly US and European case studies, Maternal Horror Film: Melodrama and Motherhood establishes a framework for understanding two dominant representations of motherhood: self-sacrificing an Horror film is particularly prone to articulating fears and tensions about maternal figures, and reflects cultural apprehensions concerning the changing nature of motherhood. Via predominantly US and European case studies, Maternal Horror Film: Melodrama and Motherhood establishes a framework for understanding two dominant representations of motherhood: self-sacrificing and demonic. Building on this, Arnold investigates how discourses of motherhood exist within East Asian horror texts using popular recent horror films to illustrate. Historical and contemporary case studies include Psycho (1960), Poltergeist (1985), Invasion (2007), Ringu (1998), The Others (2001), Dark Water (2003), and The Seventh Sign (1988). Ultimately, Arnold suggests that, while such films might have some cultural and historical specificity, there is nonetheless a dialogue between genres, eras, and national cinemas and cultures, which is only evident through close textual analysis.


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Horror film is particularly prone to articulating fears and tensions about maternal figures, and reflects cultural apprehensions concerning the changing nature of motherhood. Via predominantly US and European case studies, Maternal Horror Film: Melodrama and Motherhood establishes a framework for understanding two dominant representations of motherhood: self-sacrificing an Horror film is particularly prone to articulating fears and tensions about maternal figures, and reflects cultural apprehensions concerning the changing nature of motherhood. Via predominantly US and European case studies, Maternal Horror Film: Melodrama and Motherhood establishes a framework for understanding two dominant representations of motherhood: self-sacrificing and demonic. Building on this, Arnold investigates how discourses of motherhood exist within East Asian horror texts using popular recent horror films to illustrate. Historical and contemporary case studies include Psycho (1960), Poltergeist (1985), Invasion (2007), Ringu (1998), The Others (2001), Dark Water (2003), and The Seventh Sign (1988). Ultimately, Arnold suggests that, while such films might have some cultural and historical specificity, there is nonetheless a dialogue between genres, eras, and national cinemas and cultures, which is only evident through close textual analysis.

32 review for Maternal Horror Film: Melodrama and Motherhood

  1. 4 out of 5

    Christy

  2. 4 out of 5

    Franz Biberkopf

  3. 5 out of 5

    Jaki

  4. 4 out of 5

    Winona

  5. 5 out of 5

    Francesca

  6. 4 out of 5

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    Hannah

  8. 4 out of 5

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    most fertile tabby-chan♡

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    Ben

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    Sertac Koyuncu

  14. 4 out of 5

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    Mary Yahalom

  18. 4 out of 5

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  20. 5 out of 5

    Horace Derwent

  21. 4 out of 5

    Emma Stocker

  22. 5 out of 5

    Hien Minh

  23. 4 out of 5

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  24. 4 out of 5

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  25. 5 out of 5

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  26. 5 out of 5

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  27. 5 out of 5

    Maitê Spellman

  28. 5 out of 5

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  29. 5 out of 5

    Steve

  30. 5 out of 5

    Carrie Syme

  31. 5 out of 5

    Gracie

  32. 5 out of 5

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