CFP for ‘At Home with Horror?’ Conference at Kent 27th-28th October 2017

Exciting news!

 

Melodrama Research Group members Katerina Flint-Nicol and Ann-Marie Fleming have released a Call for Papers for a their upcoming conference on TV horror which will take place at Kent on the 27th and 28th of October 2017.

 

The CFP info from Kat and Ann-Marie:

 

The Melodrama Research Group presents:

At home with horror? Terror on the small screen

27th-28th October 2017

University of Kent

Keynote speaker: Dr Helen Wheatley (University of Warwick)

CALL FOR PAPERS

The recent horror output on TV and the small screen challenges what Matt Hills found to be the overriding assumption ‘that film is the [horror] genre’s ‘natural’ home’ (Hills 2005, 111). Programmes such as American Horror Story, Penny Dreadful and The Walking Dead are aligned to ‘‘quality TV’, yet use horror imagery and ideas to present a form and style of television that is ‘not ordinary’’ (Johnston 2016, 11). Developments in industrial practices and production technology have resulted in a more spectacular horror in the medium, which Hills argues is the ‘making cinematic’ of television drama (Hills 2010, 23). The generic hybridity of television programmes such as Whitechapel, and Ripper Street allow conventions of the horror genre to be employed within the narrative and its aesthetics create new possibilities for the animation of horror on the small screen. Series such as Bates Motel and Scream adapt cinematic horror to a serial format, positioning the small screen (including terrestrial, satellite and online formats) as the new home for horror.

The history of television and horror has often displayed a problematic relationship. As a medium that operates within a domestic setting, television has previously been viewed as incompatible with ‘authentic’ horror. Television has been approached as incapable of mobilizing the intense audience reactions associated with the genre and seen as a medium ‘restricted’ in its ability to scare and horrify audiences partly due to censorship constraints (Waller 1987) and scheduling arrangements. Such industrial practices have been seen as tempering the genre’s aesthetic agency resulting in inferior cinematic imitations or, ‘degraded made-for-TV sequels’ (Waller 1987, 146). For Waller, the technology of television compounded the medium’s ability to animate horror and directed its initial move towards a more ‘restrained’ form of the genre such as adapting literary ghost stories and screening RKO productions of the 1940s (Ibid 1987). Inferior quality of colour and resolution provided the opportunity to suggest rather than show. Horror, then, has presented a challenge for television: how can the genre be positioned in such a family orientated and domesticated medium? As Hills explains, ‘In such a context, horror is conceptualised as a genre that calls for non- prime-time scheduling… and [thus] automatically excluded from attracting a mass audience despite the popularity of the genre in other media’ (Hills 2005, 118).

Helen Wheatley’s monograph, Gothic Television (2006), challenges the approach of television as a limiting medium for horror, and instead focuses on how the domestic setting of the television set is key to its effectiveness.  Focusing on the female Gothic as a domestic genre, Wheatley draws a lineage from early literary works, to the 1940s cycle of Gothic women films and Gothic television of the 1950s onwards. Wheatley argues for the significance of the domestic setting in experiencing stories of domestic anxiety for, ‘the aims of the Gothic drama made for television [are] to suggest a congruence between the domestic spaces on the screen and the domestic reception context’ (Wheatley 2006, 191).

Developments in small screen horror are not restricted to contemporary output. In his work on the cultural history of horror, Mark Jancovich argues that it was on television in the 1990s where key developments in the genre were taking place (Jancovich 2002). Taking Jancovich’s work as a cue, Hills develops his own approach to the significance of horror television of the 1990s. Hills cites Buffy the Vampire Slayer and The X Files as examples of programmes striving to mobilise the genre’s more graphic elements while existing as a ‘high-end’ cultural product: ‘authored’ TV that targeted a niche fan audience (Hills 2005, 126).

Taking these recent developments into account, the aim of this conference is to engage with such advances. Can we say that it is on the small screen where critical and creative innovations in horror are now being made? How has the expansion of satellite television and online sites impacted on the genre? How has the small screen format developed the possibilities of horror? Is the recent alignment with ‘quality TV’ evidence of horror’s new mainstream status? This conference will also reflect on seminal works on television horror and revisit the history of the genre. In addressing these questions the conference will underline the importance of the small screen for horror, within the study of the genre and of the medium, and ask: is the small screen now the home of horror?

Topics can include but are not limited to:

  • The seasons and horror on the small screen
  • Gender and horror
  • Historical figures and events in small screen horror
  • Small screen horror as an ‘event’
  • Adaptation from cinema to small screen ‘re-imaginings’
  • Production contexts
  • Censorship and the small screen
  • Serialisation and horror production
  • National television production of horror
  • The impact of Netflix and Amazon Prime
  • TV history and horror
  • Literary adaptations
  • Children’s TV and horror
  • Genre hybridity
  • Fandom
  • Teen horror
  • Stardom and horror

 

Please submit proposals of 400 words, along with a short biographical note (250 words) to horrorishome@gmail.com by Friday 30th June. We welcome 20 minute conference papers as well as submissions for creative work or practice-as-research including, but not limited to, short films and video essays.

 

Conference organisers: Katerina Flint-Nicol and Ann-Marie Fleming

https://tvhomeofhorror.wordpress.com/

https://twitter.com/Homewithhorror

 

 

 

Passages of Gothic Screening in Jarman Gallery on 3rd of April

The multi-screen Passages of Gothic, a 20 minute video essay the Melodrama Research Group worked on for the Festival of Projections last year, is being screened  in Jarman Gallery on Monday the 3rd of April. You are welcome to come and join us!

The Melodrama Research Group and Gothic Feminism invite you to

Passages of Gothic

Experience an atmospheric multi-screen installation celebrating the Gothic heroine in film. This curated collection of film clips counters her frequent dismissal as a passive observer, instead privileging the Gothic heroine in moments of active investigation and bravery. These often stand directly in opposition to her suffering and persecution. Explore the slippage between women’s private and public behaviours in a setting which underlines the complexity of these under-rated female protagonists and their social significance.

The Gallery , Jarman Building

Monday 3 April 2017

 Screenings at 11.30, 12.30, 1.30, 2.30.

The Melodrama Research Group and Gothic Feminism are research groups sponsored by the Centre for Film and Media Research within the School of Arts, University of Kent.

https://blogs.kent.ac.uk/melodramaresearchgroup/

https://gothicfeminism.com/

 

Melodrama Screening and Discussion, 3rd of April, 5-7pm, Jarman 6

All are very welcome to join us for the last of this term’s screening and discussion sessions. We will be showing The Mirror Crack’d (1980, Guy Hamilton, 105 mins).

This big-budget adaptation of Agatha Christie’s 1962 novel The Mirror Crack’d from Side to Side stars Angela Lansbury as dogged detective Miss Marple. Hollywood’s ultimate star Elizabeth Taylor plays Hollywood diva Marina Gregg and Rock Hudson is her director husband Jason Rudd. While staying at an old mansion during filming in the UK, Marina finds herself threatened by anonymous letters, attempted poisonings and her own past…

Do join us, if you can, for some classic Christie.

Also, you can catch up with the recent ITV version, starring Julia McKenzie as Miss Marple, until the 2nd of April here: http://www.itv.com/hub/miss-marple/1a5576a0009

 

Registration for the Gothic Feminism Conference is now open!

Frances Kamm and Tamar Jeffers McDonald are pleased to announce that:

Registration for the Gothic Feminism conference ‘Women-in-Peril or Final Girls? Representing Women in Gothic and Horror Cinema’  (24th-26th of May at the University of Kent) is now open and will close on Friday 12th May 2017.

You can register here: http://store.kent.ac.uk/product-catalogue/faculty-of-humanities/school-of-arts/arts-events/gothic-feminism-conference-2017

Find out more, including the conference programme, on the Gothic Feminism blog: https://gothicfeminism.com/

Screening and Discussion, 20th of March, 5-7pm, Jarman 6

All are very welcome to attend the next film screening in our Gothic season. We will be showing Alien (1979, Ridley Scott, 117 minutes).

Scott’s film was the first in the highly successful Alien franchise. It introduces the audience to the tough and resourceful heroine, Ellen Ripley (Sigourney Weaver), and, more scarily, to the concept of face huggers.  Weaver appeared in all 3 sequels (1986, 1992 and 1997), continuing to take on not just terrifying alien life forms, but the sinister ‘corporation’. The fact the series has also prompted 2 prequels (2012 and forthcoming in 2017) further comments on its relevance to current society.

 

 

 

Screening and Discussion, 6th of March, 4-7pm, Eliot Peter Bird Room

All are very welcome to join us for the next in our season of Gothic films. We will watch and discuss a film.

Please note that we have a change of start time and venue: 4pm in Eliot’s Peter Bird Room.

You can find information about, and directions to, the room here:

https://www.kent.ac.uk/timetabling/rooms/room.html?room=E.BIRD

 

 

Screening of La Belle et La Bete on 12th March, 3.30 pm, Canterbury Curzon

Exciting News!

Melodrama Research Group member Frances Kamm is introducing a screening of Jean Cocteau’s La Belle et La Bette (1946). The French Classic stars Jean Marais as the lonely Beast, and Josette Day as Beauty, the object of his desires.

The Curzon in Canterbury will be showing the film of Sunday the 12th of March at 3.30 pm. You can find more information on the Curzon’s website here: http://www.curzoncinemas.com/canterbury/film-info/la-belle-et-la-bete-1946

Summary of Discussion on The Devil’s Vice

Our discussion on The Devil’s Vice included comments on: its Gothic elements; references to other Gothic films; Richard’s ‘Gaslighting’ of Susan; the audience’s genre expectations; the audience’s alignment with Susan; Richard and Susan’s relationship in terms of control and isolation and Susan’s realisation that Richard is her abuser; the role of technology; the film’s contemporary setting; the film’s purpose of the promotion of awareness of domestic abuse and the relation of this to the Gothic.

Like last session’s The Diary of Sophronia Winters, The Devil’s Vice contained a checklist of gothic elements. The opening shots of Susan, as a woman-in-peril, falling through the space from the top of the stairs onto the hard floor beneath emphasises the importance of the house. This is where much of the film’s events take place (the only other settings are a hospital, a  local library, a coffee shop and a police station), with its two staircases also playing prominent roles. Other aspects of the house are significant: there is a mirror on the stairs, several locked doors, focus on a keyhole, creepy portraits (specifically an old black and white formal photograph of a group of children and their schoolteacher, nicknamed ‘Smiler’ by Susan and Richard and seen as a demon), bats in the attic (and later in reference to this a comparison to Dracula’s house) and a disturbing doll in the no-longer needed nursery. In addition to Susan’s status as woman-in-peril she, like many other gothic heroines, is an active investigator who is seeking an answer to what is happening – and engages in the often-present action of walking down the stairs in her nightwear. In keeping with the contemporary setting, Susan is clad in pyjamas rather than a nightdress, and lacks a candlestick to light her way.

More specific references to gothic and horror films abound. The spiral staircase invokes memory of Robert Siodmak’s 1945 film. Susan’s research into the possible presence of a poltergeist summons up thoughts of Tobe Hooper’s Poltergeist (1982), and her misleading suggestion that they call in a catholic priest brought to mind William Friedkin’s The Exorcist (1973). Other points of plot similarity to gothic films include the pain of child loss (in J.A. Bayona’s The Orphanage, 2007) and concern for Susan expressed by her husband Richard to his wife’s friend (Douglas Sirk’s Sleep My Love, 1948). Aspects of The Devil’s Vice’s style also appeared to be referencing other films: the black and white footage of Richard’s attack on Susan was likened to scenes in Oren Peli’s Paranormal Activity (2009).

Smaller moments also inspired comparisons. The appearance of the sunglass and strange oculist equipment-wearing medium, Madam Barbara, reminded us of Insidious (James Wan, 2010). Shots of Susan painfully and slowly crawling across the floor after being attacked in the kitchen were similar to Michelle Pfeiffer’s attempts to escape her husband in Robert Zemecki’s What Lies Beneath (2000)Richard’s sing-song taunting while addressing Susan by her name as she’s attempting to find proof of his attacks echoed that in The Shining (Stanley Kubrick, 1980). The colour red also gains significance when Richard is about to repaint the no longer needed nursery in a blood red hue; when combined with The Devil’s Vice’s concern with children and the occult, this made us think of Roman Polanski’s Rosemary’s Baby (1968).

We also brought in our own knowledge of other gothic texts and films. Particular attention was paid to Susan’s moment of realisation that her husband is her attacker. This occurs in the office as she watches footage form the cameras she has placed in the kitchen. It was noted that this pivot is in some ways is akin to Bluebeard’s eight wife entering the secret room which contains the bodies of his previous wives.  Such a device was also used in Fritz Lang’s Secret Beyond the Door (1947) when Celia (Joan Bennett) uncovers her husband’s secret.

The film’s self-aware drawing on of other gothic texts is probably most obvious in its use of Gaslighting.  The term comes from Patrick Hamilton’s 1938 play Gaslight (notably filmed in the UK by Thorold Dickinson in 1940 and the US by George Cukor in 1944) in which a husband attempts to make his wife think  she is going mad and thus gain control of her fortune. In The Devil’s Vice, Richard engages in such behaviour by placing the creepy photograph in their home. Susan later doubts herself when she remembers that the schoolteacher’s eyes in the photographs have always been closed while Richard insists the opposite is the case.  (He has presumably used digital alteration to support his position, since the audience agrees with Susan.)  Not all Richard’s manipulations are as clear-cut. His suggestion that Susan research the history of the house seems less than helpful, while his subtle undermining of Susan to her friend Helen and the hospital doctor includes him planting the idea that Susan harms herself.  We even wondered if the anti-depressants in Susan’s system were only present because Richard was drugging her in order to undermine her at this point.

Much of this is only seen in retrospect, once it is revealed that Richard is an abuser. This is also true of the way in which Madam Barbara’s ambiguous warning to Susan that ‘he’ will kill her, and that she should leave the house, becomes reframed as a clear denouncement of Richard. Similarly, Susan’s friend Helen asking Susan if she has received the messages she gave to Richard, and indeed her straight forward question of whether Richard is hurting Susan, are afforded extra significance. The oddness of the latter was made more apparent when we considered it later – Helen would hardly have asked this unless she was already concerned.  Some of us suspected Richard early on; he seemed too perfect and his ever-ready smile caused us to make connections with ‘Smiler’ in the photograph. In addition, we are familiar with Gothic tropes, and in the gothic the husband is often the perpetrator. Yet like Susan, who is clearly also aware of some of the horror tropes present (she researches the Occult, knows about poltergeists and considers calling in a catholic priest for an exorcism) others in the group, despite their awareness of the related matter of the gothic, only realised later.  It was knowledge of horror films which led to this. It occurred just after Richard claimed he had been attacked by the demon – while the woman often sees the demon in horror films, this is far less true of the man.

The delayed realisation reveals the success of the film’s attempt to align us with Susan. We spend most of our time with Susan, with Richard’s life away from the house little commented on – we just see him in his pinstripe shirt and suit, setting off for an undemanding day at work. Our alignment is not just in terms of sympathy, but in point of view. This is not strictly literal, but significantly we, like Susan do not physically see her attacker until the camera footage is screened. This means the revelation is indeed a plot twist for some of the audience.

We further pondered Susan and Richard’s relationship, speculating on how long they had been together and when the abuse started. Susan seems highly conditioned to her situation, accepting Richard’s control and her isolation without question. Oddly many of us also accepted Susan’s isolation until considering it more after the screening. In addition to the earlier mention that Richard has isolated Susan from Helen, we found it troubling that she had no friends or family to turn to – even by telephone. The house, in which Susan spends the majority of her time, is also physically isolated – with Richard using the couple’s one car to go to work every day. Some of us even credited Richard with more control than he possessed by wondering if he planted the card for Madam Barbara in the library book on the Occult. What happened during her visit discounted this theory, since Madam Barbara does not reinforce Richard’s ideas on the presence of demons. While Richard has not arranged the Madam Barbara’s appearance, she nonetheless seems frightened of him too since she leaves after giving only an ambiguous warning to Susan, and does not return to check on Susan.

Instead, Susan takes the matter into her own hands. She escalates the situation with Richard by goading the ‘demon’ until he attacks her – in full view of the cameras in the kitchen. Susan is prompted to take this action after ‘Smiler’ has apparently attacked Richard. The couple sits in the car, with Susan at the wheel, ready to drive them both away from the danger in the house. She is stopped by Richard, who asserts that Susan will never be able to escape from the demon, who he claims is feeding off the guilt she feels at losing her unborn children. This argument is illogical since Susan’s miscarriage occurred when she was attacked (seemingly by the demon). Susan does not question Richard’s logic.  It is only after Susan sees the visual evidence from the cameras that the two parts of her brain which have previously been dissociated, join together, and she sees Richard as her abuser.

The consequences of this realisation are grim for Susan. Richard hits her over the head with the laptop on which she has been viewing the camera footage. We wondered if perhaps a similar realisation had prompted the attack at the start of the film. It is also possible that Richard deliberately timed it so that causing the loss of her babies would further punish Susan, make her more vulnerable, and place her more fully in his control. Sadly it is the case that an abuser never needs a reason to abuse. The morning after Susan’s discovery, Richard seems a little wary of her. Susan is especially forceful in her squashing of sausages in the frying pan, perhaps causing him, like us, to wonder if he was about to be attacked with this most domestic of weapons. He is right to be concerned. Although Richard foolishly takes at face value Susan’s suggestion they consult a catholic priest, she finally finds proof of his abuse (courtesy of the camera she placed in the fruit bowl which she has previously overlooked)  and leaves him.

Symbolically Susan leaves behind her rather ostentatious engagement/wedding ring. Susan and Richard are obviously comfortably off; they rent or own a large house, have a four wheel drive car, neither is overworked, and Susan can spend several hundred pounds on her investigations without blinking. The ring is another sign of this wealth. It is also indicative of something else though. A member of the group was reminded of the Adrienne Rich poem ‘Aunt Jennifer’s Tigers’. This discusses the ‘massive weight of Uncle’s wedding band’ on Aunt Jennifer’s hand and references imperialism and the oppression of women by men. (You can find the full poem here: http://writing.upenn.edu/~afilreis/88v/rich-jennifer-tiger.html)  As with The Yellow Wallpaper and The Diary of Sophronia Winters, patriarchy is signalled to be damaging, and women are advised to avoid marriage.

Susan, with the help of technology, manages to extricate herself from her situation. Seeing film footage of Richard attacking her is what makes Susan see the truth, and also provides proof for the police. Susan was also able to access this technology via other technology – she orders the cameras over the internet she perhaps surprisingly has some access to. Technology is not wholly positive, however, since Richard uses it to physically attack Susan.

Such instances of technology clearly place the film in the modern day. The modern is also reflected in the decoration of the central aspect of the house. While it has Gothic elements (an almost church-like appearance, especially evident in its windows) the interior is stylish and modern. The fact it is largely functional also suggests emptiness. There seem to be few personal items, with the main photograph that of a group of children and their schoolteacher. While some Gothic films are set in contemporary times (notably Alfred Hitchcock’s Rebecca (1940), Secret Beyond the Door, and Bryan Forbes’ The Stepford Wives (1975)), more often they take place in the past (Gaslight, The Spiral Staircase, Joseph L. Mankiewicz’s Dragonwyck (1946) and Jack Clayton’s The Innocents (1961).

Setting films in the past provides the audience with distance from the narrative, to allow them to deny the relevance of the gothic (and its disturbing overtones) to the present day. By contrast, The Devil’s Vice is set in contemporary times since social documentary and feature film maker Peter Watkins-Hughes’ main remit was to raise awareness of domestic abuse and to encourage people to seek help.  It was released at the time Clare’s Law –the Domestic Violence Disclosure Scheme was rolled out across the UK. The law allows people with concerns to make enquiries about a partner. You can find out more on the film’s website: http://www.thedevilsvice.org.uk/

We thought that the film was very effective in using its small cast of fewer than ten, limited running time and few locations. These all added to the sense of constraint. However, the tone was occasionally uneven (especially in Helen’s visit to the house seemingly being played for a little comedy), and we found Susan’s desire to return to home a bit unbelievable. Regardless of how much Susan is being controlled, she has suffered not just terrible physical trauma but the emotional effect of losing her unborn babies. This is dealt with quickly. While the focus on extreme physical violence is understandable in terms of seeing what is already in plain sight, it underplays the significance of the more subtle ways people abuse others. Since the film’s release, the matter of coercive control has also been more discussed, and indeed in March 2015  was included in the Serious Crime Act https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/482528/Controlling_or_coercive_behaviour_-_statutory_guidance.pdf)

But the film did raise our awareness in making the connection between Gothic heroines and domestic abuse – whether physical, emotional, or both. This crystallised for us the continuing relevance of the Gothic, especially in a world that continues to be unequal.

As ever, do log in to comment, or email me on sp458@kent.ac.uk to add your thoughts.

Screening and Discussion, 20th of February, 5-7pm, Jarman 6

All are very welcome to join us to watch and discuss The Devil’s Vice (Peter Watkins-Hughes, 2014, 60 mins).

 

This 1 hour Welsh thriller, written and directed by Peter Watkins-Hughes, is set in rural Monmouthshire. A pregnant young woman (Sara Lloyd Gregory) and her husband (Gareth Jewell) endure terrifying occurrences at their home, as she becomes convinced an evil entity is determined to cause her serious harm.

Do join us if you can.