By Frances Pheasant-Kelly
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Extra resources for Abject Spaces in American Cinema: Institutional Settings, Identity and Psychoanalysis in Film
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.