![]() ![]() This article examines the close relationship that exists between trauma and ghost fiction. Trauma lays outside the realm of representation, by definition something that cannot be expressed and that lies beyond ordinary means of recollection and representation. Trauma presents any writer with difficulties. In this, the series' horrific surveillance of its characters provides varying discursive resources with which the audience may evaluate and act regarding their own experiences of depression and abject motherhood. ![]() This article examines Netflix's The Haunting of Hill House (2018) for its contribution to this ongoing discussion, arguing that the series takes advantage of the camera's ability to surveil its subjects in order to suggest ways that a mother's abjection and mental illness suffuse the network of familial and social relations that she is caught up in. These films transform motherhood into an abjec-tion tied intimately to depression and ultimately suggest ways for audiences to make sense of both depression and conceptions of abject motherhood. Some recent horror media have centred on the gendered components of abject theory, notably the relationship of a mother to her children, as well as the stigma surrounding mental illness. Abjection relates to the simultaneous attraction and revulsion that audiences feel around the horrific, gory or disturbing subjects that comprise the focus of horror films. Many theorists argue that abjection is at the core of the experience and fascination of the horror genre. ![]()
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