By Frances Pheasant-Kelly
American cinema abounds with motion pictures set in prisons, asylums, hospitals and different associations. instead of orderly areas of restoration and rehabilitation, those institutional settings end up abject areas of regulate and repression during which grownup identification is threatened as a story impetus. Exploring the abject via concerns as varied as racism, psychological disorder or the renovation of our bodies for organ donation, this ebook analyses more than a few movies together with 'The Shawshank Redemption' (1994), 'Full steel Jacket' (1987) and 'Girl, Interrupted' (1999) via to cult motion pictures akin to 'Carrie' (1976) and 'Bubba Ho-tep' (2002). by way of analysing scenes of horror and disgust in the context of abject house, Frances Pheasant-Kelly finds how threats to id show up in scenes of torture, horror and psychosexual repression and are resolved both even though dying or via tense re-entry into the skin international. This readable and fascinating journey of the abject within the establishment film...
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Extra info for Abject Spaces in American Cinema. Institutional Settings, Identity and Psychoanalysis in Film
These films address both female and male dominated institutions of different genres, namely the horror genre, the war film, and the sports training film. Each suggests that mastery of the physical aspects of the body is essential to attaining a coherent adult identity, while failure of control, mediated through various spatial scenarios, equates to an inability to achieve adulthood. Chapter 1 Schooling and the Feminine Body: Carrie The film Carrie (1976, directed by Brian De Palma), considered one of the most successful horror films of the 1970s,1 has been the subject of much critical debate.
4 Like Douglas,5 she further identifies the exclusion of certain foods and religious abominations as ways to sustain a ‘clean and proper body’. The ultimate threat for Kristeva is the corpse; the corpse, that which has irremediably come a cropper, is cesspool, and death ... if dung signifies the other side of the border, the place where I am not and which permits me to be, the corpse ... is a border that has encroached upon everything. 6 She also describes how involuntary bodily actions that arise in reaction to encountering the abject, such as gagging at the skin on the surface of milk, are ways of protecting the self from contamination.
The architecture of the house is interesting in that it magnifies certain tropes of space evident in other institutions, for it is a dark, foreboding place with secret internal spaces and narrow staircases. In some ways, it parallels the labyrinthine underground spaces of other institutions and does eventually sink underground. For Carrie, the internal, highly restricting spaces of the home are, however, ambivalent. While they are traumatizing and repressing, occasionally they provide her with sanctuary, perhaps as her only source of private space.
Abject Spaces in American Cinema. Institutional Settings, Identity and Psychoanalysis in Film by Frances Pheasant-Kelly