Titles of Interest: Bewitched Again

978-0-7864-4711-4This title of interest is Bewitched Again: Supernaturally Powerful Women on Television, 1996-2011 (McFarland, 2013) by Julie D. O’Reilly.

Starting in 1996, U.S. television saw an influx of superhuman female characters who could materialize objects like Sabrina, the Teenage Witch, defeat evil like Buffy the Vampire Slayer and have premonitions like Charmed’s Phoebe. The extraordinary abilities of these women showed resistance to traditional gender roles, although these characters experienced infringements on their abilities in ways superpowered men did not.

Supernaturally powerful women and girls have remained on television, including the heavenly connected Grace (of Saving Grace), telepathic Sookie (of True Blood), and magical Cassie (of The Secret Circle). These more recent characters also face numerous constraints on their powers. As a result, superpowers become a narrative technique to diminish these characters, a technique that began with television’s first superpowered woman, Samantha (of Bewitched). They all illustrate a paradox of women’s power: are these characters ever truly powerful, much less superpowerful, if they cannot use their abilities fully? The superwoman has endured as a metaphor for women trying to “have it all”; therefore, the travails of these television examples parallel those of their off-screen counterparts.

About the Author
Julie D. O’Reilly is an assistant professor of communication and women’s and gender studies at Heidelberg University in Tiffin, Ohio, where she also serves as the chair of the Communication and Theatre Arts Department and as a co-director of the Women’s Leadership Initiative. She lives in Tiffin.

Title of Interest: The Descent

318qfnToE9L._SY300_This post begins a new feature for TheoFantastique, promotion of various volumes that probe facets of the fantastic in more depth. We being with The Descent by James Marriott (Columbia University Press, 2013).

The story of an all-female caving expedition gone horribly wrong, The Descent (2005) is arguably the best of the mid-2000s horror entries to return verve and intensity to the genre. Unlike its peers (Saw [2004], Hostel [2011], etc.), The Descent was both commercially and critically popular, providing a genuine version of what other films could only produce as pastiche. For Mark Kermode, writing in the Observer, it was “one of the best British horror films of recent years,” and Derek Elley in Variety described it as “an object lesson in making a tightly-budgeted, no-star horror pic.” Time Out’s critic praised “this fiercely entertaining British horror movie;” while Rolling Stone’s Peter Travers warned prospective viewers to “prepare to be scared senseless.” Emphasizing female characters and camaraderie, The Descent is an ideal springboard for discussing underexplored horror themes: the genre’s engagement with the lure of the archaic; the idea of birth as the foundational human trauma and its implications for horror film criticism; and the use of provisional worldviews, or “rubber realities,” in horror.

JFA Needs Book Reviewers

JFA_20-3_thmbIf you enjoy the academic exploration of the fantastic and write on the topic, I would encourage you to subscribe to the mailing list for the Journal of the Fantastic in the Arts. In addition to discussion threads among members, the group periodically sends an email with a list of titles needing review for the publication. I have reviewed two so far, and while they are tough in the editing process, JFA is a good publication, and you can slowly build up your library through review copies. To learn more visit the website, or subscribe here.

“Ultraviolet’s” Vampires and the ‘War on Terror’

The current edition of Gothic Studies is available, Volume 15, No. 1 (May 2013), published by Manchester University Press. It focuses on vampires and the undead in popular culture, and several essays caught my eye for download in PDF for later reading. I recently finished reading the first of them, and it is David McWilliam’s essay titled “Perfect Enemies: Neoconservative Hunters and Terrorist Vampires in Joe Ahearne’s Ultraviolet (1998.)” Ultraviolet is a series that ran on the BBC, and given McWilliams’ discussion it’s one I need to track down for viewing on Hulu.

The abstract for this essay reads as follows:

A consideration of the way sin which the discourse of monstrosity, once deployed against a political enemy, closes off open debate and undermine the values of those who argue that the ends needed to defeat them justify any means used. This article explores the parallels between the neoconservative rhetoric of the War on Terror with that of the vampire hunters in Joe Ahearne’s television show Ultraviolet (1998), as both deny their enemies the status of political subjects. It offers a reading of the show in light of Slavoj Žižek’s call to evaluate the arguments of both sides in such moralised conflicts.

McWilliam’s essay makes for a very interesting study, adding another layer of interpretive sophistication to an older monstrous icon, and provides food for thought in reflecting on the neoconservative prescription for a post-9/11 world, carried on by progressives now and for the foreseeable future.

Mormons and Fantastic Roleplaying

Monsters+and+Mormons+by+MatsbyThe last two days I have been attending Sunstone Symposium in Salt Lake City. Sunstone is an annual gathering of more progressive Mormons who explore various facets of what it means to be a Mormon wrestling seriously with troubling historical, doctrinal, and social issues. I often find the conference very interesting in my research in Mormon studies and interreligious dialogue. This year a presentation caught my interest that seemed very different from many of the offerings. It was “‘I’m a Half-Druid Elf Going to the Steampunk Ball!’ Comic Cons, Cosplay, Roleplaying Games, and Mormons” by Doe Daughtrey. Daughtrey has a PhD in religious studies, and previously I have enjoyed her research into syncretistic Mormons who combine aspects of Mormonism with the Western esoteric tradition, such as the “New Age” and Wicca.

This seminar represented a new interest for Daughtrey, who is also a friend of mine, and who now shares an additional research interest with me in terms of the religious aspects of the fantastic in popular culture. The abstract for this presentation reads:

Like many Americans, Mormons play video and tabletop roleplaying games, attend and contribute to comic and sci-fi fantasy conventions, and even engage in cosplay (adult dressup). This presentation explores the ways Mormon concepts of embodiment inform Church members’ participation in game play and Con-culture, focusing on religion-related concerns about gender, body image, morality, time management, addiction and obsessive-compulsive behavior, and personal health and hygiene.

I have explored the Mormon connection to the fantastic previously, such as the large number of Mormon writers contributing to science fiction, and the Mormon elements within Battlestar Galactica, and Twilight. However, Daughtrey’s research proposal adds a new dimension to this line of research. For me two elements were most noteworthy in the discussion. First, Daughtrey suggests that Mormons may be significantly represented in gaming (video and roleplay) and other aspects of the fantastic such as cosplay, in contrast with other religious traditions. This may be in light of the fantastic elements of Mormon cosmology that dovetail with science fiction narratives, thus contributing to the overrepresentation of Mormons in science fiction authorship in comparison with other religious traditions. But such conclusions will need to be supported by future ethnographic research. Second, Daughtrey suggests that there are a variety of reason why Mormons are so drawn to cons, cosplay, and roleplaying games. The significance of the body and roleplaying within Mormon culture translates quite easily to alternative expressions outside of Mormonism. For example, Mormons take on roles as they perform rituals in the temple as an important part of learning what it means to be divine in their quest for exalation. Although a very different type of roleplaying takes place in video games or fantasy roleplaying games, nevertheless these differing expressions of roleplaying have significant overlap for Mormon participants.

I wish Daughtrey well in this research project and hope to report on future aspects of it as it develops in the future.

Call for Papers: Vampires and Humor

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Call for Papers: Vampires and Humor (or Humor in Vampire Literature, Movies, and Music)

Abstracts due: October 15 to Gilpin_vicky@hotmail.com

Vampires and humor can be an interesting topic because the author can break down his or her analysis based on a variety of parameters. What is so special about vampires and humor? What does humor try to accomplish in vampire works, or what do vampires accomplish in comedic ones? How does humor negate, transcend, or influence vampiric symbolism and/or the many tropes of vampire works (literature in particular)? Why are so many YA, urban fantasy, and paranormal romance works centered around vampires funny or attempting to be so? Why are vampires in modern literature, film, commercials, television shows, comic strips, graphic novels, songs, and internet videos funny/humorous/comedic? What is the relationship between vampires and humor in modern entertainment?

This selection of essays from McFarland will include previously unpublished essays exploring humor in vampire works, such as movies, literature, commercials, or music.  Many avenues exist for perusal of vampires and humor, such as what makes vampire comedy/humor a flop or a success, how does humor in vampire works conform to or revolutionize specific theories of humor, intentional versus unintentional humor, as well as the possible goals of humor within particular subgenres of vampire works. A focus on 20th and 21st century works is preferred, though older works may be referenced to provide context, and essays emphasizing older works will still be considered. A purpose of the book is to provide a broad representation of humor in a variety of vampire works through multiple methods of analysis.

Humor in vampire works or vampires in comedic works can be broad topics, so focusing on subcategories of the following broad topics might be beneficial, with special attention to the reason for selecting particular works:

* Humor in selected vampire movies
* Humor in songs about vampires
* Humor and vampires on YouTube
* Humor in YA novels featuring vampires
* Humor in vampire works not promoted as comedy (for example, paranormal romance or urban fantasy)
* Vampire comic books or graphic novels
* Humor, vampires, and gender, race, religion, socio-economics, capitalism, sexuality, etc.
* A particular theory of humor, comedy, or wit and how vampire works reject or transcend it

This is the current timeline: Abstracts/Proposals (350-500 words) and a brief biography (100-150 words): October 15th, 2013

Notification of essay selection status: November 1st, 2013

Rough Papers in MLA format: February 15th, 2014

Final Papers in MLA format (6,000-8,000 words) and all forms: April 15th, 2014

To keep in mind:

The publisher, McFarland, notes about fair use and direct quotations: “Our general interpretation of fair use guideline for quotation is that (when dealing with a work first published in 1923 or after) you may quote up to 800 words total from a book,  about 400 from a play, about 100 from a short story or essay, roughly 75 words from a substantial article, and about 50 words from a short article (up to about 1000 words from any one year of a daily newspaper) unless you have permission from the publisher to quote more.”

Call For Papers – Little Horrors: Representations of the Monstrous Child

Creepy-Horror-Kids-HeaderGone is the Victorian innocence of childhood. We have entered the age of the monstrous child, the little horror.

Each historical period can be seen to have prioritised a different facet of the child, the Victorian era idolised the innocence of the pre-pubescent child, the twentieth century the disaffected teenager, whilst the early twenty-first seems to be that of the monstrous child. Whilst global organisations such as UNICEF and Save the Children promote the sanctity of childhood as a fundamental human right, popular culture and empirical, sociological data would intimate something else. Here children are not configured as the wealth of the family and the community, but are seen as an economic burden, a luxury or even a parasite. Far from being the repository of all society holds dear about itself, the child becomes something at once uncontrollable and monstrous, not to be loved and cherished but feared and expelled. Whether supernatural or just plain wicked, the child becomes a liminal being caught outside of normalised categorization; not mature, not socilaised, not under the rule of law and not conforming to adult nostagia over what they should be.

Is there a relationship between the declining birth rate in the West and the increasing representation of children as an alien other? However, as witchcraft accusations against children in Africa and representations in the Asian horror film genre show, this is not just a Western phenomenon. So just what are the underlying reasons, if any? This volume aims to assemble the evidence from history, psychology, sociology, literature and media studies to map the extent and meaning of this representational development.

Topics to include:

* Witch children, witchcraft accusations against children, children
using witchcraft accusations
* Magical children: children with magical or superhuman powers, the wunderkind
* Werewolves and other shapeshifters: children as animals
* Fairies and changelings: the folklore of strange children
* Undead children: vampires, zombies and others
* Ghosts and demonic children: children possessed, children as demons
* Child crime and culpability: moral evil and legal responsibility
* Monstrous children through history: physical deformity and mental health issues
* Children as embodiments of other aspects of supernatural horror
* The monstrous as a new role model for children
* Children as adults and adults as children
* Society and children and public and private spaces Immigration, post-colonialism and foreign adoption
* War children and child soldiers

A brief bio and abstract of circa 300 words should be sent to –

For literature and media studies: Simon Bacon (baconetti@googlemail.com)
For history and social sciences: Leo Ruickbie (leo@ruickbie.com)

Deadline for abstracts: 1st September 2013

There’s no project page as yet, but you’ll find these same details at http://kcl.academia.edu/LeoRuickbie/Posts

The Wicker Man Enigma documentary

With all of the controversy and discussion of late over The Conjuring and its depiction of Paganism in horror, I stumbled upon this documentary looking at the classic The Wicker Man that artfully and frightfully explored this same topic years ago. Enjoy The Wicker Man Enigma.

Critical Considerations of “The Conjuring’s” Ed and Lorraine Warren

3129791_origAs mentioned in a previous post, The Conjuring has generated a lot of discussion and controversy. One area that has received a lot of attention is its depiction of evil witches and the “darkness of witchcraft” in connection Christian conceptions of Satan and demonology. You can read my previous post, a guest essay by a Pagan writer and film scholar for that perspective in response. There is also a discussion of this at The Wild Hunt blog which raises the important question of what the legacy of this film will be in depictions of real-world Pagans and Christian interactions with them.

Another element of the controversy, but one that so far has received little consideration, is that of Ed and Lorraine Warren, self-described demonologists and researchers in the paranormal. Ed is now deceased, but Lorraine continues to make the rounds providing stories about their alleged encounters and adventures. They were involved in the Amityville Horror, and have been involved in horror movies that claim to incorporate their experiences, including not only The Amityville Horror, but also the television movie The Haunted, The Haunting in Connecticut, and now The Conjuring.

But what are we to make of the Warrens? Although they combine elements of their Roman Catholicism with psychic gifts, something that would be frowned upon in orthodox Catholicism, they have successfully combined the paranormal, and now aspects of Paganism, to Christian demonological assumptions. Yes, The Conjuring is a work of fiction, and should be taken with a grain of salt, but the film also claims to be “based upon a true story,” and incorporates the work and testimony of the Warrens. Thus, as the film overlaps with real-world concerns their credibility is important. Critical analysis of their work must be considered, and in light of this Flavorwire published “The Long, Strange Career of ‘The Conjuring’ Demonologists Ed and Lorraine Warren.”

9780813122892_p0_v1_s260x420But more critical analysis is needed. To that end, TheoFantastique has solicited comments on the Warrens from its network that includes those with expertise in relevant disciplines. Earlier today one respondent provided his thoughts, Bill Ellis, an expert in the occult and folklore, and who has researched and written extensively on the topic, including Raising the Devil: Satanism, the New Religions, and the Media (University of Kentucky Press, 2000), and Lucifer Ascending: The Occult in Folklore and Popular Culture (University of Kentucky Press, 2004). Ellis wrote:

It’s been a long time since I dealt with this, and since my retirement I’ve passed on my satanism files and books to Penn State’s Library collection. I do recall the two as prominent media figures in both the Amityville Horror house and the Smurl haunting case. They tended to focus on demonic obsession as a primary focus in a way that was similar to the approach of the Deliverance Ministry that I discuss in “Raising the Devil.” That is, paranormal events are the work of Satan’s minions, and even trivial experimentation with the occult can lead to serious demonic attacks. Interestingly, Lorraine Warren functioned as a trance medium as part of their investigations, but then exorcism was, notoriously, a form of occult investigation in which interesting things could be learned by questioning indwelling demons, essentially using afflicted individuals as a kind of Ouija board.

In scattered notes, I also find that the Warrens took a very hard line against Ouija boards, holding that they should be burned, sprinkled with holy water (I believe they were either Catholic in orientation or at least swung that way, as Ed also used a crucifix in his work), and then buried. Cabbage Patch dolls also tended to be foci of occult/demonic activities, Warren alleging that such toys, when treated like real human babies, attracted demons as “souls,” allowing them to levitate and speak to their owners, saying things like “I’m not just a doll — I’m the Lord of Hell.” [Reference: Omni Magazine, Feb. 1985. http://textfiles.com/magazines/HUMUS/humus.001]. They too needed to be sprinkled with holy water and buried to avoid further trouble.

While I would not go so far as to call them “fakes,” it is clear that they represented a fringe approach to the paranormal that was essentially an effort to appropriate emerging forms of occult activity into a form of Christianity by defining them as a form of spiritual warfare. Which is, as you know, essentially what the prosecutors of the Salem Witch Trials did in 1692. It is an effort to compete with the neopagan revival (or at least with what Christians thought neopagans were doing) rather than a movement to combat it.
http://textfiles.com/magazines/HUMUS/humus.001

One of my concerns where the Warrens are concerned is found in the final paragraph of Ellis, the work of the Warrens that has confirmed Christian presuppositions about Pagans as being in league with the Devil, and thus a Spiritual Warfare approach is needed, which may or may not involve modified forms of Roman Catholic ritual. Earlier today I read two blog posts by Evangelicals which picked up on precisely these areas and ran with them, only to confirm stereotypes and spread misinformation about Wiccans and Pagans. And then there’s the possibility of bringing additional lack of credibility to the study of the paranormal, a research area that already struggles with legitimacy.

Before we run with the “facts” of the Warrens in confirming our views of witches, Pagans, the Salem Witch Trials, or even the paranormal, let’s do our homework to see what kind of people we’re dealing with and weigh their testimony accordingly.

Promising Tidbits for Rise of the Planet of the Apes

dawn-of-the-planet-of-the-apes-caesarRegular readers of this blog will recall that I am a huge Planet of the Apes fan, as this essay and podcast indicate. Therefore, I was pleasantly surprised with the results of the reboot in Rise of the Planet of the Apes. Those who have seen this film will recall the ending that played out while the credits rolled as a simian flu-infected pilot dripped blood from his nose through an international airport, setting the stage for a worldwide pandemic. In this way Rise set the stage for a sequel, but my question was “Can lightening strike twice?” Could the filmmakers produce a sequel that would be as good as the first film, represent thought provoking science fiction, and also do justice to the Planet of the Apes franchise?

This quest still lingers for me, but some of the tidbits that have been released about Dawn of the Planet of the Apes is promising. This includes interviews and other material made available at Comic con, as well as the viral media campaign which has resulted in a public service announcement type of promotional that warns about “simian flu” (see below).

Time will tell whether Rise of the Planet of the Apes signals that the Apes franchise is reborn with more than a one hit wonder, but here’s to hoping.

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