Films, in general, are directly influenced by the time period in which they were created. This includes the genre of horror films that remained heavily influenced by the time periods in which it was created. In the earliest horror films, the supernatural and the monstrous were represented by an outside threatening force. This monster was a terrifying entity divorced from any form that could be considered part of mainstream normal society. However, with the film Rosemary’s Baby made in 1968, there became a new genre in which similar themes portrayed the supernatural and monstrous invading the family dynamic and domestic home. Because of this shift, the family, rather than an abstract outside force, became the very source of terror. This shift in horror portrayal also gave a chance for these movies to be able to examine general changes in family dynamics and evolving social views on family. In the earliest of these films, the nuclear family is portrayed as positive force that essentially breeds or is influenced by a monstrous child. This monstrous child is also often influenced by some outside demonic or polluted source. These movies examined the changing social dynamics within home life by portraying the monstrosity in the child, and its effect on the positive nuclear family. Movies that portrayed this type of formula were movies such as The Exorcist (1973), It’s Alive (1974), The Omen (1976), and Audrey Rose (1977). After these child monstrosity movies were presented, horror movies began to examine the struggles of teenage juveniles and tortured adolescence. Because of the many influencing factors in emerging adolescence, many of these films portrayed not only the monstrosity in the child, but how the abuse of the family could influence these supernatural factors as well. Movies that examine this relationship are films like Carrie (1976) which examine both the supernatural in the child as well as the potential for family abuse and portrayal to have influence over the monstrous supernatural factor as well. In later years, as the nuclear family began to be challenged by differing emerging views of what constituted a family, disintegration of a positive nuclear family began to be portrayed in horror films as well. In these later films, the paternity, instead of the child, was portrayed as the ones negatively affected by this supernatural force. With the positive image of the nuclear family in its decline and concepts of patriarchy being called into question, these movies, such as The Shining (1980) and Amityville Horror (1979) portrayed specifically the father as the terrifying force that threatens the family dynamic. And in other films, the family in itself was portrayed as monstrous, such as Texas Chainsaw Massacre (1974) and The Hills Have Eyes. (1977) These movies examine not only monstrosity being bred into the family, but also portray how perverse social relations breed monstrosity. All these films differ in their portrayal of the monstrous effect on the family. However, while their portrayals may differ, all these movies ultimately portray changing family views in society by portraying the supernatural and the monstrous effect on the family itself.
As the late 60s progressed, a pattern of horror films that focused on the satanic and corrupted effect on the child occurred, transforming the concepts of evil and violence into a tangible immoral entity represented in the child. Each of these films contained similar themes which were directly influenced by societal changes during the time period of the film’s creation. One of the major influences in these pieces of work was the counterculture movement that was occurring during this time period. This movement changed concepts directed towards youth and innocence. These dominant social changes that were occurring included the direct influence of the Vietnam War, influence of drugs, increased crime rate, general mistrust of social systems and authority as well as overall rebellion and protests which all had a great influence on youth culture and perceptions on underage behavior. All these factors led to a perception of children not only being exposed to adult behavior, but capable of adult behavior as well. During a time when the young were protesting on the streets during the Vietnam War era, the mentality of what constituted innocent behavior in youth changed dramatically, translating into films that portrayed environments where nothing innocent could survive. (Derry, 168)
Changing attitudes in concepts regarding childbirth also had an influence on this time period. Feminist attitudes addressed issues in regards to women’s rights, and the introduction of birth control, changes in child birth practices such as the emergence of anesthesia, medication, and other technological devices caused for increased decisions and challenges towards the childbirth process especially in regards to concepts of natural childbirth. The eventual legalization of abortion also had an impact on the viewpoints and recognition towards the concerns and complications of childbirth. Because of this, many themes in these demonic child horror films addressed the fears in regards to childbirth.
However, another societal aspect that influenced this time period was the changing social mentality in regards to religion, specifically the Christian religion. The election of a new pope in 1964, the well-publicized “God is Dead” controversy, the crisis in the Catholic church as many priests and nuns left the church, the increased interest in astrology, horoscopes, and Eastern religion, and the sense in the United States of a special need for a spiritual connection at a time when church attendance had decreased and the country was undergoing social cataclysm, led to a response of films that contained religious themes. In regards to religion and spiritual notions, these films directly addressed “the concerns of its audience: if we could not find God reflected in the modern world, perhaps we could at least find the devil. “(Derry, 169) This mentality was made clear as each of these films represented religious notions of evil and biblical horrors in a secular world that was essentially losing faith in religious ideology.
Infamous Time Magazine cover featured in Rosemary’s Baby (1968)These social aspects all had an influence on the first film that started the demonic child genre in horror films, Rosemary’s Baby made in 1968 which was the first movie that represented the tangible evil nature through the concept of the anti-Christ. Religious references and symbolism occur throughout the film in regards to Rosemary’s memories that represent her past experience of being raised as a religious Catholic. Conversations as well as concepts of residual guilt reveal that Rosemary has conflicting feelings over no longer being involved in the church. Other references in regards to conversations about the Pope and organized religion also detail questions of faith and religious absence. This religious absence is referenced again at the film’s end, in which it is officially declared by a cult of Satanists that evil has triumphed over religious morality through the successful production of the anti-Christ.
The film is not necessarily about the concept of the anti-Christ, but rather focuses on the horrors that occur during the development of Rosemary’s pregnancy as well as focuses on her detrimental place within a patriarchal society, both of which are depicted as terrifying experiences within the film. The film was created during the height of the abortion debate when women’s sexual and reproductive rights were being addressed. Because of the main focus on reproduction within the film, and the restrictions that occur against Rosemary for deciding to endure an unwanted pregnancy, the film contains references to issues that were central to the women’s movement, especially in regard to reproductive rights. As Rosemary allows for a patriarchal system to dictate every decision she makes, she essentially becomes dependent on this system to the point where she becomes trapped within an inescapable situation. Rosemary’s choices and liberties become restricted throughout the film by the main patriarchal symbols, as well as with her pregnancy. At a time when patriarchal restrictions were heavily criticized, Rosemary’s Baby portrays the criticized aspects of this community by the portrayal of patriarchy as an inescapable force.
The film is not necessarily about the concept of the anti-Christ, but rather focuses on the horrors that occur during the development of Rosemary’s pregnancy as well as focuses on her detrimental place within a patriarchal society, both of which are depicted as terrifying experiences within the film. The film was created during the height of the abortion debate when women’s sexual and reproductive rights were being addressed. Because of the main focus on reproduction within the film, and the restrictions that occur against Rosemary for deciding to endure an unwanted pregnancy, the film contains references to issues that were central to the women’s movement, especially in regard to reproductive rights. As Rosemary allows for a patriarchal system to dictate every decision she makes, she essentially becomes dependent on this system to the point where she becomes trapped within an inescapable situation. Rosemary’s choices and liberties become restricted throughout the film by the main patriarchal symbols, as well as with her pregnancy. At a time when patriarchal restrictions were heavily criticized, Rosemary’s Baby portrays the criticized aspects of this community by the portrayal of patriarchy as an inescapable force.
One of the main male patriarchal figures in the film that Rosemary places trust in is her husband. Rosemary’s husband is essentially a demanding, self-absorbed, career-oriented individual who sacrifices his wife in order to further his own ambition. His concerns with Rosemary aren’t in regards to concerns over her well being, but whether she is able to successfully reproduce a child. Due to her husband’s actions, Rosemary’s body becomes exploited through violence in order to conceive a demonic child. “Rosemary's exploitation by her husband, who coldly pursues his own interests in her future child without regard for her desires or well being, might be read as an indictment of the more routine ways sexist social relations expropriate women's reproductive labor.” (Valerius, 2)
Rosemary’s experience with the male dominated society in the film also leads to any criticism of behavior that may be considered rebellious or would possibly lead to Rosemary’s escape from this patriarchal society. This is in regards to appearance, in which Rosemary’s modern short hairstyle, a hairstyle, which Rosemary prefers, is continually criticized in the film as her choices on her appearance are essentially labeled as a mistake. Her compliance with these opinions allow the male dominated society around her to control her decisions, including those in regards to her appearance.
This is also in regards to education, as she is instructed not to read books during her attempts to gain information on her oncoming pregnancy and her current situation. Each time Rosemary attempts to gain information from reading material, her actions are continually criticized by the male figures in the film. The male figures state that Rosemary’s action of reading is continuously creating subversive ideas that are actually detrimental to Rosemary’s mentality. This mentality is continually addressed not just by Rosemary’s husband, but by her doctor, another patriarchal symbol that Rosemary trusts. However, the doctor, like the husband, has selfish reasoning when dictating Rosemary’s actions. Both these negative symbols of a detrimental patriarchal system were portrayed at a time when patriarchal ideology and a male dominated health profession were heavily criticized. This criticism that was occurring against the medical community, specifically in regards to reproduction, is revealed in the film through the medical surveillance and overmedication that occurs during Rosemary’s pregnancy. Rosemary’s trust in patriarchal individuals allows her to be convinced by their statements, and she begins to disregard beneficial information because of their affirmation that the material Rosemary continues to read would be considered detrimental rather than beneficial.
Rosemary’s pregnancy in itself also leads to further restrictions on Rosemary’s lifestyle. The pregnancy that Rosemary endures leads to isolation and anxiety as the pregnancy causes chronic health problems and increasing paranoia. This paranoia also begins to manifest in outright fear and concern as Rosemary becomes increasingly confused and concerned over what is occurring to her body during this time period of distress. The problems that occur because of Rosemary’s pregnancy restrict her lifestyle to the point where she is unable to leave her apartment, effectively leaving her in complete isolation from outside society. This isolation also increases Rosemary’s dependence on the patriarchal symbols in the film as her pregnancy progresses, and the restrictions on her lifestyle increase to the point where she allows these same patriarchal symbols to dictate her actions and decisions.
These actions and decisions are only contradicted by the only contact that Rosemary has with a community outside this patriarchal system, with the meeting of young female individuals during a party. Rosemary starts to have doubts over the legitimacy of the statements from the patriarchal individuals in the film as she begins to gain information from experiential young female individuals whose maternal instincts are able to inform Rosemary through common sense about the issues regarding her pregnancy. However, this information is also quickly dismissed by the husband who states that the female opinions in the film are irrelevant especially compared to a male medical opinion. Rosemary dismisses the statements from her female friends as soon as the safe nature of her pregnancy is portrayed in a satisfactory way. Because of Rosemary’s continual dismissal of outside beneficial information, as well as her dependence on a patriarchal system that chooses to exploit her body for reproductive means, she becomes trapped in this same patriarchal system that she has become dependent upon. As the last scene progresses, she discovers she has become involved in a patriarchal cult, where a dominant patriarchal leader decides every decision, including who raises Rosemary’s child. By Rosemary’s complacency in this cult’s decisions, this final scene reveals that Rosemary’s absolute trust and obedience towards a patriarchal system has led to her own damnation through her desire to conceive a child.
Rosemary’s Baby final sceneConcepts of faith, absolute evil and detrimental effects on the child are addressed in the film The Exorcist made in 1973. Made during a time period of Catholic downturn, The Exorcist reveals how Catholicism has continuing relevance in the modern world. (Gauntgirl, 1) The film directly references religious and social anxieties that were being addressed in contemporary society. These anxieties are portrayed through the character Regan who effectively loses her identity because of the malevolent supernatural force in the film. She is portrayed as vulnerable to this outside influence because of her emerging adolescence, as well as her family situation. Regan is the product of a failed marriage, and the absence of a father, or a patriarchal figure in her life has a direct effect on the family dynamic and her personality. The mother that Regan is raised under is portrayed as more liberated through her dominant actions in her professional world as well as her interactions towards others. This behavior is referenced later as the demonic possession slowly takes over Regan’s personality. In several controversial scenes, statements as well as actions are conducted against religious artifacts and Christian ideology. Both the upbringing from a liberated mother as well as the direct references to the subversive sexual behavior reveal direct contradictions between this behavior and the traditional values of sexual purity in the Catholic church. This behavior also seems to make reference to the emerging sexual and feminist revolution, both of which were viewed as a direct threat to the traditional values of the church. (Gauntgirl, 1) Patriarchal dominance is viewed as the positive force in this film as patriarchy is reinforced during the exorcism in order to restore Regan’s soul to its rightful place in the spiritual community.
Regan’s exorcism in The Exorcist (1973)While large portions of the film focus on Regan and her family’s struggle, even the title of the film seems to reflect that the film is more about one of the exorcists, Father Karras, then the exorcism of the child Regan. Father Karras’s personality is a reflection of particular challenges facing the Christian faith, especially as he undergoes a crisis of faith himself. Through his study of psychiatry, “Karras has been moving away from his Catholic calling toward the scientific rational of the secular world.” (Gauntgirl, 1) However, this science and psychiatry prove to be ineffective in regards to either assisting Regan, whose experience with the scientific community appears more invasive and abusive than beneficial, and Karras’s mother, who is mentioned as also unable to benefit from the psychiatric and scientific community in Karras’s absence. Through the portrayal of science as ineffective, the film reveals how religion is far more beneficial in regards to healing. Through Karras’s interaction with the older priest Father Merrin, as well as his encounter with the demon through Regan’s exorcism, Karras is able to acknowledge that the devil does exist, and therefore is able to regain his faith. In a self-sacrificial act, Karras, whose ideals were formerly rebellious, provokes and welcomes the demon to enter his own body in order to destroy the evil presence that exists. Through this self-sacrificial act, the film reveals the final message of returning to religion and restoration of faith.
It’s Alive, made in 1974, also portrays the supernatural monstrous child. The reason for the child’s abnormal behavior, however, is not demonic possession, but rather its creation is based on the polluted, corrupt, and overmedicalized portions of society. At a time period when pollution, radiation, and over-prescription of drugs use were of main concerns, the film portrays how a prescription drug companies’ actions effectively creates a defective child through the mismanagement of their fertility products. The film also revisits the concepts of childbirth anxiety in relation to the medical profession through its horrific portrayal of the child’s unnatural birth.
While this film revisits concepts of the monstrous child, another difference between this film and the other monstrous supernatural films is that other films portray the monstrous child as having a severe detrimental effect on the nuclear family and societal values. While the child in It’s Alive has a detrimental effect on society, the monstrous child does not pose a threat to the nuclear family within the film. Because of this contradiction, it is not the child that poses a threat to the family, but rather society’s values and social innaceptance of the child that causes a negative effect on the family within the film. The family remains a connected force throughout the film, until society decides to challenge the family’s construct by stating that one of its members is monstrous. As soon as this label is enacted towards the child, the father immediately agrees with this societal viewpoint and instantly dismisses his paternal responsibility towards the child. By denying that he is the child’s paternal father, he is trying to remove any personal blame or responsibility for the monstrous child’s actions, and in essence is trying to prove to society that he agrees with their viewpoint that the child is in fact monstrous. However, this viewpoint causes conflict in his family, in which his excessive denial causes a divide to occur between him and the other members of his family who have already accepted responsibility for the child. While he appears to be justified in his mentality, the father creates conflict by proving loyalty to society’s viewpoint over the concerns of his family. The father continues to remain disconnected to the child’s paternity, especially when the child has a negative effect on the father’s social image in the community. However, when the father finally is able to view the child, he observes the child as a tangible member of the family rather than a detrimental societal concept. He finally makes a sacrificial choice to accept responsibility for the child and reconnect with his family, despite the detrimental effects it might have with his image and position within society. Because of this reasoning, the film redefines concepts of normality. The film also reveals criticisms towards intolerance based on social morality, specifically against the morality based intolerance towards the counterculture movement. Through its portrayal of the family within the film, the film criticizes the mentality of those adhering to strict societal morality by portraying the negative effect this mentality has to the family within the film.
Damien as the actualized anti-Christ in The Omen (1976)
Damien as the actualized anti-Christ in The Omen (1976)The concept of the anti-Christ is explored once again in the film The Omen made in 1976. The film mainly shows the conflict between secular and religious mentality as a religious community attempts to convince a skeptical secular individual that his child is the anti-Christ. The fact the individual is an American ambassador with powerful political involvement emphasizes the concept of potential for world domination. The religious communities’ attempts to convince the skeptical individual, Robert Thorn, that his child is in fact the anti-Christ remain completely ineffective. Thorn continues to disbelieve the religious warnings that occur mainly because the child doesn’t contain any overt malevolent supernatural qualities. However, the evidence that the child is the anti-Christ doesn’t occur through the child’s own supernatural nature, but rather happen through a pattern of strange supernatural occurrences. These strange coincidences, or omens, reveal signs that the child has an apocalyptic destiny. As a series of deaths occur over involvement with the child, including those in the religious community, Thorn becomes convinced that his child is in fact the anti-Christ and therefore must be destroyed. Thorn’s attempt to destroy the child leads only to his own destruction. Thorn’s fatal attempt to destroy the child only completes the destiny of the anti-Christ’s world domination as the child is inherited directly into the Presidential administration. The film’s representation of world domination through the anti-Christ portrays a religious threat in a secular society. However, the secular notions in the film, the ineffectiveness of the religious communities, and religious inaccuracies led to feelings that the film was created and endorsed mainly because of the success of the subgenre’s predecessors The Exorcist and Rosemary’s Baby. The film’s popular success is attributed mainly to Hollywood commercialization and the fact the plot revolves in a similar fashion to mystery thrillers, rather than the religious references in the film.
Scene from Carrie (1976)
The supernatural horrific in adolescence is explored in the film Carrie, also made in 1976. At a time when crime was rising, specifically in young individuals, the film explores the factors that effect adolescent psychology and adherence to violence. The portrayal of Carrie is one of victimization, as her relationship with the adolescent community and her abusive upbringing lead directly to her ultimate violent decision. Carrie doesn’t portray religion as a beneficial force, but instead portrays the dangers of religious fanaticism through the abusive behavior of the mother. “Unlike Carrie’s contemporaries, which used the emerging awareness of Christian spirituality to create terror, this film is a reaction the old-fashioned religion that had become irrelevant to modern society.” (Jackson, 1) Carrie’s mentality reflects that of modern society, a mentality which her mother, a religious fanatic continually rejects. During the onset of puberty, the mother’s religious fanaticism consistently judges natural adolescent behavior and the female body. This same religious ideology causes further conflict when Carrie can’t properly adjust in a society that consistently compares her appearance and behavior to her mother’s abnormal religious ideology. The film also criticizes the concepts of conformity and immorality as conformist adolescents also enact abuses on Carrie through a consensus judgment that Carrie is abnormal or different. The many factors that reinforce the concepts of abuse and violence ultimately lead to Carrie’s violent behavior at the end of the film. The depiction of these actions that lead to the character’s violent behavior, contain social criticisms as well as general analysis of violent behavior.
Scene from Audrey Rose (1977)
Interest in Eastern religion from a Western civilization had occurred since the 1890s, however, the wide exposure to Eastern religion didn’t begin until the late 1960s to 1970s. It is during this time period that Audrey Rose is created in 1977. The reincarnation in the film is portrayed similar to the childhood possession found in previous films like The Exorcist. The film also contains similarities to The Exorcist in the sense that the child Ivy becomes aware of the possible possession of her reincarnated self at the approach of emerging adolescence. However, the possession found in the film is not explained through Christian concepts, but rather through concepts found in Eastern religions. The film affirms concepts found in the Eastern religion by portraying the reality of reincarnation and the actual effect it has on an average American family. Through its portrayal of skepticism towards reincarnation, the film effectively shows the conflict between Eastern ideology and the Western world. This clash is most effectively portrayed through the fact that differentiating beliefs create a divide within the family. The father of the film, who maintains concepts rooted in modern sensibilities, completely rejects the notions of reincarnation. The mother soon discovers that the irrational behavior that is exhibited in her child can only be explained through the concept of reincarnation. Because of his complete rejection of Eastern religion by the father, the mother turns to an alternative individual, Elliot Hooper, who does believe in reincarnation for support. Elliot Hooper states that he also was a believer of Western theology but has converted to concepts found in Eastern theology. His conversion occurs because of his exposure to Eastern theology and his belief that his deceased daughter Audrey Rose has an immortal existence in the child Ivy because of reincarnation. Through the behavior of her child Ivy, the mother also converts to Eastern theology. The father, that represents modern skepticism, refuses to believe the doctrine Hooper represents and tries to use the law to prove that Hooper’s religious convictions are irrational. Since Hooper’s theology is the only rational explanation for what is occurring to the child Ivy, the father’s attempts to use the law only lead to religious dispute, custody issues, and the death of his own daughter. It is only through the acceptance of Eastern religious doctrine that the main characters in the film are able to achieve acceptance and inner peace.
During a time when patriarchy was still a dominant force, all these films portrayed the supernatural as having a demonic effect on the child. However, as patriarchy began its decline, a loss of patriarchy was being characterized through a series of mild mannered fathers, such as the fathers found in Kramer vs. Kramer (1979), Ordinary People (1980), and later Mr. Mom (1983). This same mild manner father becomes the horror in the films Amityville Horror (1979) and The Shining (1980) These films portray the supernatural, not as having a damaging effect on the children, but rather having a damaging effect on the father (Sobchack, 184-187) In both films the concepts of financial difficulties and patriarchal responsibility have a direct influence on the father figure in both films.
Financial conflict is especially apparent in the film Amityville Horror, in which a desire to purchase a dream home stretches a family beyond their financial means. Financial pressures don’t appear to have a strong effect on the rest of the family, but have a direct effect on the father who remains concerned with financial difficulties throughout the entirety of the film. His hesitation in regards to financial payments, as well as the constant references towards financial difficulties portrays that financial difficulties as a major concern. This consistent financial burden also forces the father to work overtime, and yet his extra income still fails in alleviating the financial burden he’s experiencing. Because of these financial concerns and the supernatural effect that occurs on the household, the father’s actions become more stressful, irrational, and erratic. Because of the father’s concentration on financial difficulties he begins to lose control of his household, his familial status, and his own behavior. The father starts terrorizing the family through this erratic behavior, until finally he loses his composure completely and attempts to attack his family with an axe. As the decline of patriarchy begins, the horror film reveals through Amityville Horror the detrimental pressure that occurs through patriarchal loss of familial and financial power.
The previously benign father ascends the stairs to attack his family with an axe, Amityville Horror (1979)
The mild-mannered father becomes the horror in The Shining, as feelings of instability transform into patriarchal rage. While the father is portrayed as mild-mannered at the beginning of the film, there is also a mention of a history of violence and alcoholism that also attribute to the irrational feelings exhibited by the father. The father, Jack Torrance, has assumed the responsibility of caretaker at an isolated summer resort as he continues to work on his writing. Through the isolated setting, Torrance is consistently reminded of his failings as a patriarchal individual. Because of his recognition of these failings, he accuses his family of being to blame for his failures because of their inability to understand his patriarchal responsibilities. Despite his complaints about the many responsibilities he has to endure, he refuses to take responsibility for his actions, and instead blames his family for his continuous mistakes. His impending failure creates illusions of conspiring forces against him, specifically in regards to his employment status and his family. These feelings of personal disappointment also create an alternate universe to escape from this impending failure. This alternate universe is represented as an environment of patriarchal history and nostalgia in which Torrance is able to express his inner masculine feelings and desires. Through Torrance’s encounters with this patriarchal universe, he becomes convinced that the only way to succeed as a patriarchal figure is to destroy his family. He attempts to murder his family with an axe, however, his attempts to destroy his family remain unsuccessful. Unable to succeed in a modern society, Torrance winds up a successful figure permanently emerged in a patriarchal society rooted in the past.
Infamous scene from The Shining (1980)All these films portray the family through a realistic portrayal, in which the portrayal of the average American family increases the plausibility of the scenarios that occur. However, another shift occurs in which the family in itself is viewed as twisted and detrimental. This concept is portrayed in the films Texas Chainsaw Massacre (1974) and The Hills Have Eyes (1977) where before either the child or the parent was portrayed specifically as the threat, the family itself becomes a threat in these films. The abnormal behavior in these families is contrasted with the rational behavior of the sympathetic individuals that encounter their deviant behavior. Through their portrayal of the unnatural family dynamic, these films are able to reveal family tensions that were occurring during this time period as well as the societal notions towards violence through the concepts of survival.
The detrimental family in The Texas Chainsaw Massacre (1974)The family in The Texas Chainsaw Massacre traces its traditions and mentality back to an abandoned slaughterhouse. With a tradition based on slaughter, the deviant family represents the feelings towards violence and the concepts of decay in society that were occurring during the Vietnam era. This decay of society is especially evident in the deviant family within The Texas Chainsaw Massacre. Their abnormal behavior is contrasted with the behavior of the adolescents, whose counterculture mentality is portrayed as normal compared to the deviant cannibalistic family. While once a recognizable, social structure that could enforce morality, the dysfunctional family in the film symbolizes unrecognizable familial roles, and deviant ethical social structure. This society self destruction is also built into concepts of survival, in which the characters essentially have to compete with each other in order to survive in the film. With the break down of economic structures and finances, the family in Texas Chainsaw Massacre turns to deviant forms of survival including murder and cannibalism. The inescapable environment of violence and the feelings of complete desperation contributing to concepts of individual survival represent the mistrust in authority figures that was occurring during this time period.
Scene of the deviant family in The Hills Have Eyes (1977)
Scene of the deviant family in The Hills Have Eyes (1977)Human instinct for survival and its effect on the deviant family is explored again in the film The Hills Have Eyes. The deviant family is also contrasted by the average American family that encounters them. However, the violence that is exhibited by the average American family at the end of the film is not just violence based on survival, but rather violence based on vengeance. This violence shows that despite the average American’s portrayal as being more civilized, like the deviant family, they are also capable of savagery and destructive violence. Because of the traditional families’ adherence to brutality and violence, as well as the deviant behavior they also exhibit, the film questions whether the suburban family can be considered more civilized than the cannibalistic family depicted in the film. The emphasis on personal survival not only portrays the concepts of mistrust authority figures that was featured in Texas Chainsaw Massacre, but also reveals criticisms of the conservative family that was portrayed through previous film depictions in a positive way.
Whether the representation of the family in film revealed the child, the parent, or the family itself as a threat, each of these films reflected changing societal viewpoints specifically in regards to the family. Each of these films has direct societal references from the counterculture movement, the women’s movement, religious influence, violence, or traditional family values. As each of these films progressed through different portrayals of the family dynamic, these films wind up representing the social concerns and popular interest that was occurring through the time period of each film’s creation.
Works Cited Page
Sobchack, Vivian. “Bringing it All back Home: Family Economy and Generic Exchange”
Sobchack, Vivian. “Bringing it All back Home: Family Economy and Generic Exchange”
American Horrors: Essays on the Modern American Horror Film. Chicago: University of Illinois press, 1987
Harwood, Sarah. Family Fictions: Representations of the Family in 1980s Hollywood Cinema. London: Macmillian, 1997
Wood, Robin. “The American Nightmare: Horror in the 70s” Hollywood from Vietnam to Reagan. New York: Columbia UP, 1986
Jancovich, Mark. The Horror Film Reader. London: Church Street Bookshop, 2002
Scheider, Steven Jay. Horror Film and Psychoanalysis. New York: Cambridge University Press, 2004
Valerius, Karyn. “Rosemary’s Baby, Gothic Pregnancy, and Fetal Subjects.” BNET Research Center. 2007 http://findarticles.com/p/articles/mi_qa3709/is_200507/ai_n14849727
Gauntgirl. “’The Exorcist’ as Contemporary Dialogue Between Christianity and Popular Culture.”Horror Diva Film. 2003 http://www.horrordiva.com/new/essays/exorcist.php
Jackson, Mike. “Carrie: Special Edition.” DVD Verdict. 2001 http://www.dvdverdict.com/reviews/carriese.php
Derry, Charles. “More Dark Dreams: Some Notes on the Recent Horror Film.” American Horror: Essays on the Modern American Horror Film. Chicago: University of Illinois press, 1987
Harwood, Sarah. Family Fictions: Representations of the Family in 1980s Hollywood Cinema. London: Macmillian, 1997
Wood, Robin. “The American Nightmare: Horror in the 70s” Hollywood from Vietnam to Reagan. New York: Columbia UP, 1986
Jancovich, Mark. The Horror Film Reader. London: Church Street Bookshop, 2002
Scheider, Steven Jay. Horror Film and Psychoanalysis. New York: Cambridge University Press, 2004
Valerius, Karyn. “Rosemary’s Baby, Gothic Pregnancy, and Fetal Subjects.” BNET Research Center. 2007 http://findarticles.com/p/articles/mi_qa3709/is_200507/ai_n14849727
Gauntgirl. “’The Exorcist’ as Contemporary Dialogue Between Christianity and Popular Culture.”Horror Diva Film. 2003 http://www.horrordiva.com/new/essays/exorcist.php
Jackson, Mike. “Carrie: Special Edition.” DVD Verdict. 2001 http://www.dvdverdict.com/reviews/carriese.php
Derry, Charles. “More Dark Dreams: Some Notes on the Recent Horror Film.” American Horror: Essays on the Modern American Horror Film. Chicago: University of Illinois press, 1987
Remarkably, Francis almost fully recovered from his battle with polio. Only now does he have a slightest hint of a limp to remind him of the ordeal. He continued making crude moviemaking equipment out of household items, and over the ensuing months he designed a makeshift television studio. His studio was equipped with a fake television and boom mike. He tried doing all of this in the basement of his parents home. He even tried building his own television set.
The Godfather, like Mario Puzo’s decision to write the novel, was based on their financial need. Coppola was not the first choice for Paramount as a director, quite frankly, he was far from it. But seeing that all of the directors that Paramount wanted to direct their film were already unable to do so, it came down to Coppola or directors from the Italian heritage. As time went by, Coppola began to reconsider his stance. Zoetrope was withering on the vine, and he owned Warner Bros. $300,000. Coppola went to his family for advice but wasn’t satisfied. Not getting the satisfaction he wanted from his family he moved on to bigger and better things. He met with Charles Bluhdorn, head of the Gulf & Western, which owned Paramount, and the two talked through the night. After talking through it they came to a conclusion. Coppola would be getting $150,000 salary for directing and co writing the film, plus he would receive six percent of the pictures net profit.
The 1970s were also a period of great technological innovation for filmmaking. My second visual represents an illustration of the use of the SteadiCam device and the PanaFlex 35mm camera and crane. Before the development of these devices and other similar technologies directors and cinematographers were limited in conducting shots that involved the stabilization of rapid movements and the act of filming in small spaces. With the invention of the new stabilization systems and camera cranes filmmakers could now conduct scenes in new and innovative ways. For example with the steadicam device, the actor could run down the street with the steadicam either ahead of him or behind him and attract minimal attention- because the operator was not looking through. A camera view finder as he followed the action. (pg 377 Cook). This filming with minimal attention drawn to the camera created a scene of much greater realism.
