Pub Date : 2021-08-01DOI: 10.3828/liverpool/9781800859265.003.0006
K. Wetmore
The volume concludes with “What Exactly is Conjured in The Conjuring?” After all, if the film is called The Conjuring, something must have been summoned or some kind of magic has been wrought, and yet there is no literal conjuring in the film. The generic title instead gives way to the idea that what is conjured is, thus, “the underlying anxieties of the vulnerable everyman,” not to mention a spate of imitators in its wake. What is conjured is the audience’s fear, in a virtuoso horror film.
{"title":"Conclusion","authors":"K. Wetmore","doi":"10.3828/liverpool/9781800859265.003.0006","DOIUrl":"https://doi.org/10.3828/liverpool/9781800859265.003.0006","url":null,"abstract":"The volume concludes with “What Exactly is Conjured in The Conjuring?” After all, if the film is called The Conjuring, something must have been summoned or some kind of magic has been wrought, and yet there is no literal conjuring in the film. The generic title instead gives way to the idea that what is conjured is, thus, “the underlying anxieties of the vulnerable everyman,” not to mention a spate of imitators in its wake. What is conjured is the audience’s fear, in a virtuoso horror film.","PeriodicalId":391505,"journal":{"name":"The Conjuring","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129781791","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}
The third chapter examines children and women in the film. In particular, The Conjuring is a film filled with dangerous and diabolical toys and games: the doll Annabelle, the game Hide-and-Clap, Rory’s music box, the haunted toys in the Warrens’ Occult Museum. The film also displays children in peril and the parents who must struggle to protect them, even as the danger often comes (directly or indirectly) from the parents themselves. The five Perron daughters are linked with Judy Warren, Ed and Lorraine’s daughter, as all are threatened by supernatural evil and the threat of being harmed by the parents. In contrast the film also shows Rory, the dead boy killed by his mother, as a cautionary tale. Similarly, The Conjuring is a female-centric movie, concerned with wives and mothers, and yet is not particularly feminist. The second half of the chapter offers a feminist reading of the women of The Conjuring, considering how Lorraine, Carolyn and Bathsheba accept or reject roles as mothers and wives, and how they interact with the men in the story.
{"title":"Child’s Play and Women’s Work","authors":"K. Wetmore","doi":"10.2307/j.ctv1s5nwvc.6","DOIUrl":"https://doi.org/10.2307/j.ctv1s5nwvc.6","url":null,"abstract":"The third chapter examines children and women in the film. In particular, The Conjuring is a film filled with dangerous and diabolical toys and games: the doll Annabelle, the game Hide-and-Clap, Rory’s music box, the haunted toys in the Warrens’ Occult Museum. The film also displays children in peril and the parents who must struggle to protect them, even as the danger often comes (directly or indirectly) from the parents themselves. The five Perron daughters are linked with Judy Warren, Ed and Lorraine’s daughter, as all are threatened by supernatural evil and the threat of being harmed by the parents. In contrast the film also shows Rory, the dead boy killed by his mother, as a cautionary tale. Similarly, The Conjuring is a female-centric movie, concerned with wives and mothers, and yet is not particularly feminist. The second half of the chapter offers a feminist reading of the women of The Conjuring, considering how Lorraine, Carolyn and Bathsheba accept or reject roles as mothers and wives, and how they interact with the men in the story.","PeriodicalId":391505,"journal":{"name":"The Conjuring","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117030089","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 chapter examines why The Conjuring was rated R for “terror” and the three most frightening moments in the film as exemplars of how director James Wan manipulates the audience and develops slow scares. It then contextualizes The Conjuring with Wan’s previous work and considers his collaborators. After a brief production history, the chapter considers the use of humor to offset and thus heighten the horror. Lastly, the first chapter considers the importance of seeing in the film – film is a visual medium and The Conjuring plays around with the idea of what you can and cannot see and which is scarier.
{"title":"“It’s right behind you!” or Rated R for “Terror”","authors":"K. Wetmore","doi":"10.2307/j.ctv1s5nwvc.4","DOIUrl":"https://doi.org/10.2307/j.ctv1s5nwvc.4","url":null,"abstract":"This chapter examines why The Conjuring was rated R for “terror” and the three most frightening moments in the film as exemplars of how director James Wan manipulates the audience and develops slow scares. It then contextualizes\u0000The Conjuring with Wan’s previous work and considers his collaborators. After a brief production history, the chapter considers the use of humor to offset and thus heighten\u0000the horror. Lastly, the first chapter considers the importance of seeing in the film – film is a visual medium and The Conjuring plays around with the idea of what you can and cannot see and which is scarier.","PeriodicalId":391505,"journal":{"name":"The Conjuring","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121717905","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}
{"title":"The Warren Files, or “Based on a True Story”","authors":"","doi":"10.2307/j.ctv1s5nwvc.5","DOIUrl":"https://doi.org/10.2307/j.ctv1s5nwvc.5","url":null,"abstract":"","PeriodicalId":391505,"journal":{"name":"The Conjuring","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130490061","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}
The sequels, prequels and other films of the so-called “Conjuring Universe” are analysed in relationship to the original, and considered as to how they shape, expand, and sometimes contradict the ever-growing milieu of the films. Analysed in this chapter are Annabelle, The Conjuring 2, Annabelle: Creation, The Curse of La Llorona, The Nun, and Annabelle Comes Home.
{"title":"“Everything you see in here is either haunted, cursed, or has been used in some kind of ritualistic practice.” Or, The Endless Conjuring Universe","authors":"K. Wetmore","doi":"10.2307/j.ctv1s5nwvc.7","DOIUrl":"https://doi.org/10.2307/j.ctv1s5nwvc.7","url":null,"abstract":"The sequels, prequels and other films of the so-called “Conjuring Universe” are analysed in relationship to the original, and considered as to how they shape, expand, and sometimes contradict the ever-growing milieu of the films. Analysed in this chapter are Annabelle, The Conjuring 2, Annabelle: Creation, The Curse of La Llorona, The Nun, and Annabelle Comes Home.","PeriodicalId":391505,"journal":{"name":"The Conjuring","volume":"36 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131789989","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：