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Horror conventions condition both production and reception and thus instantly propell the spectator into a—by then—carefully formatted atmosphere. This was what she remembered thinking— before it happened. But as the heroine fights back, she rejects in a very masculine way the burden of sexual objectification, desperately trying to preserve her integrity and, literally as well as figuratively, the limits of her own body. Hence the difficult, if not impossible, compatibility between the various horrific storylines.

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Taken In The Haunted House

With the horror film, a different syntax rapidly equates monstrosity not with the overactive nineteenth-century mind, but with an equally overactive twentieth-century body. It somehow reinforces the idea that the house is structured like a live organism where parallel systems operate without necessarily cooperating. Hence the approach to the phenomenon of fear differing radically from the disquietening presentation of the house by Robert Wise in The Haunting for instance, or Stuart Rosenberg in Amityville The attacks, though decreased in both frequency and intensity Once the haunting chain has been broken, only unsettling traces of some parallel and disturbingly violent universe resurface. As it needs to be authenticated by outsiders in order to be mastered, both Furie and Hooper focus on photographic proof.

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But precisely, the ritual cleansing often remains laden with ambiguity. With the horror film, a different syntax rapidly equates monstrosity not with the overactive nineteenth-century mind, but with an equally overactive twentieth-century body. Contrary to classic horror tales, the haunting is no longer restricted to the house which, in turn, is not insulated from the outside world. The banal dimension of these male social rituals further emphasizes the normality of the whole scene, preparing us somehow for a rather violent outburst of abnormal events. At the beginning of the s, the setting is no longer the East but the West Coast. In other terms, the body is relatively safe because the house is either forever abandoned or utterly destroyed.

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Description: The TV screen reflects the same discreet sense of threat as the front of the house in the first shots. They constantly live and interact with others, filling in the surrounding space and screen. In other terms, the body is relatively safe because the house is either forever abandoned or utterly destroyed. The visual effects of misframing and oblique angles, objects and fragments of body framed in high- and low-angle shots and extreme close-ups all materialize on screen the process of the house taking possession. Horror conventions condition both production and reception and thus instantly propell the spectator into a—by then—carefully formatted atmosphere. But the mass of mainstream film, and the conventions within which it has consciously evolved, portray a hermetically sealed world which unwinds magically, indifferent to the presence of the audience, producing for them a sense of separation and playing on their voyeuristic phantasy. And the same question reemerges. In The Monstrous-Feminine , Creed extends to the horror film the structures of abjection that Kristeva, in her book Powers of Horror first published in , discusses in relation to literature.
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