In the late twentieth century, the rise of the female suicide bomber phenomenon was prevalent in Chechnya, Lebanon and Sri Lanka. Arguably, in terms of academic engagement and visibility within the wider public consciousness, the first wave of Palestinian female suicide bombers during the second intifada (2000‐05) encapsulates particular notoriety in relation to the perceived deviance of Palestinian female participation in political violence. Key to this construction is the role of news media as an agent of power. This article examines coverage of Palestinian female suicide bombers during the second intifada period within the scarcely examined medium of British terrestrial broadcast news media. This article determines the impact of individual journalists' gender in producing forms of discourse that delegitimize political agency. In particular, it shall establish if female journalistic voices are complicit in communicating intersectional gendered and Orientalist frameworks.
{"title":"Gendering journalistic voices for gendered political violence? Agential representations of Palestinian female suicide bombers in UK broadcast news media","authors":"Matthew D. Kirk","doi":"10.1386/nl_00022_1","DOIUrl":"https://doi.org/10.1386/nl_00022_1","url":null,"abstract":"In the late twentieth century, the rise of the female suicide bomber phenomenon was prevalent in Chechnya, Lebanon and Sri Lanka. Arguably, in terms of academic engagement and visibility within the wider public consciousness, the first wave of Palestinian female suicide bombers during\u0000 the second intifada (2000‐05) encapsulates particular notoriety in relation to the perceived deviance of Palestinian female participation in political violence. Key to this construction is the role of news media as an agent of power. This article examines coverage of Palestinian female\u0000 suicide bombers during the second intifada period within the scarcely examined medium of British terrestrial broadcast news media. This article determines the impact of individual journalists' gender in producing forms of discourse that delegitimize political agency. In particular, it shall\u0000 establish if female journalistic voices are complicit in communicating intersectional gendered and Orientalist frameworks.","PeriodicalId":38658,"journal":{"name":"Northern Lights","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46241753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Arne van Lienden, Carmen Longas Luque, Jacco van Sterkenburg
The racial/ethnic diversity that can be seen in televised football, together with its wide audience, makes it an interesting place to study meanings given to race/ethnicity. Previous research on the content of these discourses has found that televised football in different countries reproduces a variety of racial/ethnic stereotypes. These discourses arguably help to perpetuate and ‘naturalize’ racial/ethnic inequities. In order to better illuminate how sport media serves as a site where discourses surrounding race/ethnicity are (re)constructed, a fruitful yet understated direction of future research would be to look at the production process of such discourses. Although the theoretical value of production studies has been noted in previous work, there is at this time a shortage of empirical production studies in sport media. The present article describes some of the main findings of previous research on the representation of race/ethnicity in televised football (a dominant subject of research in this area) and audience reception research. Furthermore, the article focuses on main findings from production studies in sport media, supplementing a focus on race/ethnicity with describing production studies on gender ‐ as most production studies have mainly focused on gender and provide relevant insights for the study of race/ethnicity. We conclude with some future research avenues highlighting the importance of exploring production processes in relation to meanings given to race/ethnicity in sport media.
{"title":"Sport media and the cultural circulation of race/ethnicity: Moving from content analyses to production studies","authors":"Arne van Lienden, Carmen Longas Luque, Jacco van Sterkenburg","doi":"10.1386/nl_00020_1","DOIUrl":"https://doi.org/10.1386/nl_00020_1","url":null,"abstract":"The racial/ethnic diversity that can be seen in televised football, together with its wide audience, makes it an interesting place to study meanings given to race/ethnicity. Previous research on the content of these discourses has found that televised football in different countries\u0000 reproduces a variety of racial/ethnic stereotypes. These discourses arguably help to perpetuate and ‘naturalize’ racial/ethnic inequities. In order to better illuminate how sport media serves as a site where discourses surrounding race/ethnicity are (re)constructed, a fruitful\u0000 yet understated direction of future research would be to look at the production process of such discourses. Although the theoretical value of production studies has been noted in previous work, there is at this time a shortage of empirical production studies in sport media. The present article\u0000 describes some of the main findings of previous research on the representation of race/ethnicity in televised football (a dominant subject of research in this area) and audience reception research. Furthermore, the article focuses on main findings from production studies in sport media, supplementing\u0000 a focus on race/ethnicity with describing production studies on gender ‐ as most production studies have mainly focused on gender and provide relevant insights for the study of race/ethnicity. We conclude with some future research avenues highlighting the importance of exploring production\u0000 processes in relation to meanings given to race/ethnicity in sport media.","PeriodicalId":38658,"journal":{"name":"Northern Lights","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44320915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research sits at the nexus of women, peace-building and the news media in order to decipher how the representations of women and peace-building in post-conflict Northern Ireland affect women’s social situation in divided societies recovering from violent ethnonational conflict. Women are habitually associated with non-political community-level reconciliation through an assumed innate and feminine propensity to peace. This is amplified through gendered news media portrayals which serve to reinforce patriarchal social knowledge, and in turn, this disenfranchises women by foregrounding their femaleness rather than political expertise; and damages peace by marginalizing a significant demographic of the population and intensifying social inequality, which is the foundation for conflict.
{"title":"Women and peace-building in Northern Ireland’s print news media","authors":"Ashleigh McFeeters","doi":"10.1386/nl_00023_1","DOIUrl":"https://doi.org/10.1386/nl_00023_1","url":null,"abstract":"This research sits at the nexus of women, peace-building and the news media in order to decipher how the representations of women and peace-building in post-conflict Northern Ireland affect women’s social situation in divided societies recovering from violent ethnonational conflict.\u0000 Women are habitually associated with non-political community-level reconciliation through an assumed innate and feminine propensity to peace. This is amplified through gendered news media portrayals which serve to reinforce patriarchal social knowledge, and in turn, this disenfranchises women\u0000 by foregrounding their femaleness rather than political expertise; and damages peace by marginalizing a significant demographic of the population and intensifying social inequality, which is the foundation for conflict.","PeriodicalId":38658,"journal":{"name":"Northern Lights","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43210397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyses links between the archetypal myths in Croatian news stories and images of woman politicians transferring through the media to the public. A total of 73 articles have been empirically analysed using content analysis to identify master myths according to Jack Lule’s classification in Croatian news articles about the migration crisis 2015. The analysis covers the period from 31 July 2015 to 8 November 2015. The articles have been selected by searching web extension of the newspapers Jutarnji list, Večernji list and 24sata from 31 July 2015 to 8 November 2015. The data has been selected, coded and analysed per chosen woman politicians, Kolinda Grabar-Kitarović, Vesna Pusić, Mirela Holy, Ruža Tomašić and Milanka Opačić. The results show that the dominant myth in all analysed statements is the myth of a good mother. In doing so, the use of lexemes indicates a stereotyped and idealized social role of a woman who cares for and protects ‘her family’. Two framing perspectives are evident: one is a patriarchal, protective and defensive attitude towards migrants, while the other is humanitarian, based on a positive attitude towards migrants. The article’s value is that it provides a perspective on mythological narration within media texts, whereby the mythological narration could be used as a tool for stereotypical and ideological construction on politician’s images in the media.
{"title":"The media presentation of the migration crisis: An analysis of the discourse on the Croatian women politicians","authors":"Nikolina Borčić, Sara Glavač","doi":"10.1386/nl_00024_1","DOIUrl":"https://doi.org/10.1386/nl_00024_1","url":null,"abstract":"This article analyses links between the archetypal myths in Croatian news stories and images of woman politicians transferring through the media to the public. A total of 73 articles have been empirically analysed using content analysis to identify master myths according to Jack Lule’s\u0000 classification in Croatian news articles about the migration crisis 2015. The analysis covers the period from 31 July 2015 to 8 November 2015. The articles have been selected by searching web extension of the newspapers Jutarnji list, Večernji list and 24sata from 31 July\u0000 2015 to 8 November 2015. The data has been selected, coded and analysed per chosen woman politicians, Kolinda Grabar-Kitarović, Vesna Pusić, Mirela Holy, Ruža Tomašić and Milanka Opačić. The results show that the dominant myth in all analysed\u0000 statements is the myth of a good mother. In doing so, the use of lexemes indicates a stereotyped and idealized social role of a woman who cares for and protects ‘her family’. Two framing perspectives are evident: one is a patriarchal, protective and defensive attitude towards migrants,\u0000 while the other is humanitarian, based on a positive attitude towards migrants. The article’s value is that it provides a perspective on mythological narration within media texts, whereby the mythological narration could be used as a tool for stereotypical and ideological construction\u0000 on politician’s images in the media.","PeriodicalId":38658,"journal":{"name":"Northern Lights","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41986599","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Ruben Östlund's The Square and Michael Haneke's Happy End, both released in 2017, skirt around the edges of immigration in Europe. Both address the question of who belongs and who does not in terms of boundaries ‐ not only the boundaries that determine where one country ends and another begins but also (and especially) those that determine who is a member of civil society. These films explore how the bounds of what is considered appropriate are breached in specific spatial contexts, questioning the meaning of 'civility' in both a social and a political sense, and prompting us to contemplate the various meanings of hospitality.
{"title":"Out of bounds: The spatial politics of civility in The Square (Östlund, 2017) and Happy End (Haneke, 2017)","authors":"E. Ezra","doi":"10.1386/NL_00016_1","DOIUrl":"https://doi.org/10.1386/NL_00016_1","url":null,"abstract":"Abstract Ruben Östlund's The Square and Michael Haneke's Happy End, both released in 2017, skirt around the edges of immigration in Europe. Both address the question of who belongs and who does not in terms of boundaries ‐ not only the boundaries\u0000 that determine where one country ends and another begins but also (and especially) those that determine who is a member of civil society. These films explore how the bounds of what is considered appropriate are breached in specific spatial contexts, questioning the meaning of 'civility' in\u0000 both a social and a political sense, and prompting us to contemplate the various meanings of hospitality.","PeriodicalId":38658,"journal":{"name":"Northern Lights","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49328585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The neo-horror mockumentary, from the 1990s onwards, has been a genre in constant ascent, rejuvenating extremely codified strands. What unites these strands is undoubtedly a formal commonality since the premise of the genre is that of basing oneself on 'lucky' shots, which imitate a certain amateurism, while being also extremely corporeal. The neo-horror mockumentary treats the camera as a body in its own right, with its own potential and fragility, an actor like those it films. The body of the camera and the bodies filmed by it generate a dialectic of the flesh that makes the neo-horror mockumentary a body-based genre, irrespective of its articulations, which are examined in this essay from a semiotic perspective, which investigates the role of corporeality within the formal components of the genre, a filmographic perspective that through case studies identifies the system of variants and invariants around which the body becomes a pivot, and a philosophical perspective that frames the concept of body and its change in the imaginary within this new way of making cinema.
{"title":"The flesh of the film: The camera as a body in neo-horror mockumentary and beyond","authors":"B. Surace","doi":"10.1386/nl_00003_1","DOIUrl":"https://doi.org/10.1386/nl_00003_1","url":null,"abstract":"Abstract The neo-horror mockumentary, from the 1990s onwards, has been a genre in constant ascent, rejuvenating extremely codified strands. What unites these strands is undoubtedly a formal commonality since the premise of the genre is that of basing oneself on 'lucky' shots,\u0000 which imitate a certain amateurism, while being also extremely corporeal. The neo-horror mockumentary treats the camera as a body in its own right, with its own potential and fragility, an actor like those it films. The body of the camera and the bodies filmed by it generate a dialectic of\u0000 the flesh that makes the neo-horror mockumentary a body-based genre, irrespective of its articulations, which are examined in this essay from a semiotic perspective, which investigates the role of corporeality within the formal components of the genre, a filmographic perspective that through\u0000 case studies identifies the system of variants and invariants around which the body becomes a pivot, and a philosophical perspective that frames the concept of body and its change in the imaginary within this new way of making cinema.","PeriodicalId":38658,"journal":{"name":"Northern Lights","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43090625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Alfred Hitchcock in Psycho (1960) makes the corpse of an ordinary woman both an object of surveillance and a source of active watching. Mrs Bates and Marion in Psycho, Brenda and Babs in Frenzy (1972) may be seen as predecessors to the series of dead women figuratively staring back in films such as The Silence of the Lambs (Demme, 1991) and Perfume: The Story of a Murderer (Tykwer, 2006). The corpses do not merely offer themselves up as ciphers to be decoded. They reveal the lack in the perpetrators. Hitchcock's Frenzy relies on female bodies for clues to the murders. Hitchcock plays the vital role of bringing about a transition in the way in which women's bodies are to be treated in films, a transition from bodies shrouded by mist and darkness of the noirs to the exhibitionism of naked corpses in brightly lit settings. This article shows that abandonment of the usual tropes of visual impediments such as darkness and fog in Hitchcock's later films suggests a continually developing process of urban surveillance that aids in dehumanizing the victims. Further the post-murder masculinist investigative gaze forces a kind of mock-life on the victims through the relentless search of a killer's live signs on their dead flesh.
{"title":"Dead but not gone: Female body, surveillance and serial-killing in Alfred Hitchcock's Frenzy","authors":"Subarna Mondal","doi":"10.1386/nl_00007_1","DOIUrl":"https://doi.org/10.1386/nl_00007_1","url":null,"abstract":"Abstract Alfred Hitchcock in Psycho (1960) makes the corpse of an ordinary woman both an object of surveillance and a source of active watching. Mrs Bates and Marion in Psycho, Brenda and Babs in Frenzy (1972) may be seen as predecessors to the series\u0000 of dead women figuratively staring back in films such as The Silence of the Lambs (Demme, 1991) and Perfume: The Story of a Murderer (Tykwer, 2006). The corpses do not merely offer themselves up as ciphers to be decoded. They reveal the lack in the perpetrators. Hitchcock's Frenzy\u0000 relies on female bodies for clues to the murders. Hitchcock plays the vital role of bringing about a transition in the way in which women's bodies are to be treated in films, a transition from bodies shrouded by mist and darkness of the noirs to the exhibitionism of naked corpses in brightly\u0000 lit settings. This article shows that abandonment of the usual tropes of visual impediments such as darkness and fog in Hitchcock's later films suggests a continually developing process of urban surveillance that aids in dehumanizing the victims. Further the post-murder masculinist investigative\u0000 gaze forces a kind of mock-life on the victims through the relentless search of a killer's live signs on their dead flesh.","PeriodicalId":38658,"journal":{"name":"Northern Lights","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47984894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Taking as a starting point the recent surge in film and television narratives constructed around and by surveillance technologies, as a metaphor of an omnipotent observation and dystopian motif in narrating a political and cultural change, this article aims to probe how surveillance movies suggest complex phenomenological dynamics in the relationships between body and device. While recent contributions on surveillance films (Kammerer 2004) focus on the practice of body control as a narrative mode, as an image and a show (Léfait 2013; Zimmer 2015), recent sociological contributions on surveillance recognize the destruction and annihilation of body placed under the aegis of the Great Eye (Haggerty 2011; Murakami Wood 2011). This article examines Costanza Quatriglio's film 87 ore: Gli ultimi giorni di Francesco Mastrogiovanni (2015) to describe the transition from bodies as narrative object to de-naturalizing the human body. The film narrates the night of 4 August 2009 when Mastrogiovanni, a 58-year-old primary school teacher, dies after 87 hours of agony following imprisonment. The film, in the canon of 'reality cinema', consists of 75 minutes of mechanical images recorded from above.
摘要本文以近年来围绕监控技术构建的影视叙事热潮为出发点，以一种无所不能的观察和反乌托邦的母题来叙述政治和文化变革，旨在探讨监控电影如何在身体与设备之间的关系中暗示复杂的现象学动态。虽然最近对监控电影的贡献(Kammerer 2004)侧重于将身体控制的实践作为一种叙事模式，作为一种图像和表演(l fait 2013;Zimmer 2015)，最近关于监视的社会学贡献认识到在大眼睛的庇护下身体的破坏和湮灭(Haggerty 2011;村上木2011)。本文考察了科斯坦扎·夸特里格里奥的电影《87 ore: Gli ultimi giorni di Francesco Mastrogiovanni》(2015)，描述了从身体作为叙事对象到将人体去自然化的转变。这部电影讲述了2009年8月4日晚上，58岁的小学教师马斯特罗乔瓦尼在被监禁87小时后痛苦地死去。这部电影属于“现实电影”的经典，由75分钟的机械图像组成。
{"title":"Horror body as a bodily manifestation of visibility: 87 ore by Costanza Quatriglio","authors":"L. Cesaro","doi":"10.1386/nl_00008_1","DOIUrl":"https://doi.org/10.1386/nl_00008_1","url":null,"abstract":"Abstract Taking as a starting point the recent surge in film and television narratives constructed around and by surveillance technologies, as a metaphor of an omnipotent observation and dystopian motif in narrating a political and cultural change, this article aims to probe how surveillance movies suggest complex phenomenological dynamics in the relationships between body and device. While recent contributions on surveillance films (Kammerer 2004) focus on the practice of body control as a narrative mode, as an image and a show (Léfait 2013; Zimmer 2015), recent sociological contributions on surveillance recognize the destruction and annihilation of body placed under the aegis of the Great Eye (Haggerty 2011; Murakami Wood 2011). This article examines Costanza Quatriglio's film 87 ore: Gli ultimi giorni di Francesco Mastrogiovanni (2015) to describe the transition from bodies as narrative object to de-naturalizing the human body. The film narrates the night of 4 August 2009 when Mastrogiovanni, a 58-year-old primary school teacher, dies after 87 hours of agony following imprisonment. The film, in the canon of 'reality cinema', consists of 75 minutes of mechanical images recorded from above.","PeriodicalId":38658,"journal":{"name":"Northern Lights","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47370189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Many theorists argue that abjection is at the core of the experience and fascination of the horror genre. Abjection relates to the simultaneous attraction and revulsion that audiences feel around the horrific, gory or disturbing subjects that comprise the focus of horror films. Some recent horror media have centred on the gendered components of abject theory, notably the relationship of a mother to her children, as well as the stigma surrounding mental illness. These films transform motherhood into an abjection tied intimately to depression and ultimately suggest ways for audiences to make sense of both depression and conceptions of abject motherhood. This article examines Netflix's The Haunting of Hill House (2018) for its contribution to this ongoing discussion, arguing that the series takes advantage of the camera's ability to surveil its subjects in order to suggest ways that a mother's abjection and mental illness suffuse the network of familial and social relations that she is caught up in. In this, the series' horrific surveillance of its characters provides varying discursive resources with which the audience may evaluate and act regarding their own experiences of depression and abject motherhood.
许多理论家认为，堕落是恐怖类型的体验和魅力的核心。Abjection指的是观众对构成恐怖电影焦点的恐怖、血腥或令人不安的主题同时产生的吸引力和厌恶感。最近的一些恐怖媒体把注意力集中在卑鄙理论的性别成分上，尤其是母亲与孩子的关系，以及围绕精神疾病的耻辱。这些电影将母性转变为一种与抑郁密切相关的卑贱，并最终为观众提供了理解抑郁和卑贱母亲概念的方法。这篇文章考察了Netflix的《山屋闹鬼》(The Haunting of Hill House, 2018)对这一正在进行的讨论的贡献，认为这部剧利用了摄像机监控其主题的能力，以暗示一位母亲的落魄和精神疾病如何弥漫在她所陷入的家庭和社会关系网络中。在这方面，该系列对其角色的可怕监视提供了不同的话语资源，观众可以根据自己的抑郁和卑微的母亲经历来评估和行动。
{"title":"Hell house or something more? Horror, abjection and mental illness","authors":"Zachary Sheldon","doi":"10.1386/nl_00004_1","DOIUrl":"https://doi.org/10.1386/nl_00004_1","url":null,"abstract":"Abstract Many theorists argue that abjection is at the core of the experience and fascination of the horror genre. Abjection relates to the simultaneous attraction and revulsion that audiences feel around the horrific, gory or disturbing subjects that comprise the focus of\u0000 horror films. Some recent horror media have centred on the gendered components of abject theory, notably the relationship of a mother to her children, as well as the stigma surrounding mental illness. These films transform motherhood into an abjection tied intimately to depression and ultimately\u0000 suggest ways for audiences to make sense of both depression and conceptions of abject motherhood. This article examines Netflix's The Haunting of Hill House (2018) for its contribution to this ongoing discussion, arguing that the series takes advantage of the camera's ability to surveil\u0000 its subjects in order to suggest ways that a mother's abjection and mental illness suffuse the network of familial and social relations that she is caught up in. In this, the series' horrific surveillance of its characters provides varying discursive resources with which the audience may evaluate\u0000 and act regarding their own experiences of depression and abject motherhood.","PeriodicalId":38658,"journal":{"name":"Northern Lights","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43156674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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