4/20/2023 0 Comments The call of cthulhu pdfThough the gender of the werewolf remains the same in the film, the werewolf is white. Using an ecoGothic approach, this paper argues that Ginger Snaps Back challenges the racist and sexist elements of Beaugrand’s earlier text and, in doing so, reacts to the idea that the wilderness is a threatening space. Moreover, the central werewolf of Beaugrand’s narrative is also female. ‘The Werwolves’ reflects racist and colonial attitudes towards the indigenous population. Beaugrand collapse the ‘wild beasts’ and ‘wild men’ into one hybrid monster: his werewolves are indigenous people. This location evokes North American fears, and the representation of the wooded wilderness within American Gothic literature as full of wild beasts and wild men that surrounded European-American settlements. Surrounded by forests, the fort acts a point of civilisation for these frontiersmen. Beaugrand’s story opens with a group of hunters, woodsmen and militia spending the Christmas period in Fort Richelieu, Quebec. This setting echoes another Canadian werewolf narrative, Henry Beaugrand’s ‘The Werwolves' (1898). Set in the nineteenth century, the two sisters are trapped in an isolated fort surrounded by frozen forest and attacked by werewolves. The final film in the trilogy, Ginger Snaps Back: The Beginning (2004), answers the concerns regarding the ending of the first film – Brigitte kills her sister Ginger, the werewolf of the title − whilst drawing on earlier Gothic traditions. Ginger Snaps (2000) has been recognised as an exemplary example of feminist horror, yet the sequels have received little attention. With symbolic reference to gothic horror and science fiction literature and film, these concepts are aligned to new media artworks and their contextual positions within aesthetic and socio-political experiences of the uncanny in mainstream media and technology, posing the notion that we are immersed within a new age of the uncanny. The three chapters of this text explore key themes from Freud’s uncanny: the unheimlich domestic, uncanny automation and doubling, and the uncanny, abject body. This dissertation thus investigates contemporary visual culture, media and technology with reference to Freud’s analogies, alongside observations of new media art responding to these conditions. Upon realising that 2019 would mark the 100th anniversary of this essay, I was keen to apply it to a selection of unnerving attributes of contemporary socio-cultural and technological conditions. I have always had a fascination with the imagery, psychology and ideas presented in Freud’s text The Uncanny, which combines psychoanalysis with aesthetic and literary references to explore various emotional and intuitive experiences of discomfort and unease.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |