Download Abject Spaces in American Cinema: Institutional Settings, by Frances Pheasant-Kelly PDF

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 keep watch over and repression within which grownup identification is threatened as a story impetus. Exploring the abject via concerns as assorted as racism, psychological disease or the maintenance of our bodies for organ donation, this booklet analyses various movies together with 'The Shawshank Redemption' (1994), 'Full steel Jacket' (1987) and 'Girl, Interrupted' (1999) via to cult movies resembling 'Carrie' (1976) and 'Bubba Ho-tep' (2002). via examining scenes of horror and disgust in the context of abject house, Frances Pheasant-Kelly unearths how threats to id take place in scenes of torture, horror and psychosexual repression and are resolved both although loss of life or via aggravating re-entry into the surface international. This readable and interesting journey of the abject within the establishment movie could be immensely worthwhile to scholars of movie stories, severe thought and Cultural Studies.

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Extra resources for Abject Spaces in American Cinema: Institutional Settings, Identity and Psychoanalysis in Film

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40 SCHOOLING AND THE FEMININE BODY: CARRIE She describes how religion, literature and art in particular function in this way: The various means of purifying [original emphasis] the abject – the various catharses – make up the history of religions, and end up with that catharsis par excellence called art, both on the far and near side of religion. 38 Because Christian fundamentalism underpins both character motivation and narrative, religious ritual appears frequently in the film. The most significant example of this occurs in the final sequence in which Margaret White confesses to the ‘sin’ of intercourse while Carrie’s ‘sins’ (of femininity and desire) are atoned for by her sacrifice.

The use of such racist remarks clearly posits racism as abjection, with Kristeva noting that: 52 TRAINING THE ATHLETIC BODY: REMEMBER THE TITANS the abject confronts us, on the one hand, with those fragile states where man strays on the territories of animal [original emphasis]. 14 As a white family watch Boone move into the neighbourhood, we too observe the scene from their point of view. ’ and she replies, ‘no, looks like they’re moving in here. ’ they are expressing a bigoted opinion about the social status of blacks.

Through the rituals of sport and the discipline of training, he thereby retrains them to overcome their racist attitudes. While the political body rather than the individual is perhaps more salient to discussions of racial discord, it is still appropriate here to consider visceral reactions to the abject, as Kristeva initially postulated. This is relevant to the perceived violation of the individual manifested in this film and in racism discourses. Bodily contamination is certainly suggested in Remember the Titans.

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