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"Monsters Identification."
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Cryptid creatures : a field guide
\"Explore the fascinating world of cryptozoology with this fun guide, filled with eyewitness accounts of 50 cryptids found throughout the world, some of which have been proven real.\"--Provided by publisher.
Book
Imaginary and Realistic Fears: Palestinian and American Children's Understanding of Fear's Situational Elicitors and Behavioral Consequences
When asked to describe possible elicitors of fear, American children generate more stories about imaginary creatures than realistic ones; Palestinian children generate more realistic than imaginary causes (Kayyal et al., 2015). The current study reversed this task to investigate whether these patterns persist when American (n = 72) and Palestinian (n = 72) children (3–8 years, sex- and age-matched) freely labeled a story protagonist's emotion and generated a behavioral consequence. For each story, children heard a brief description about a protagonist who encountered an imaginary (e.g., monster) or realistic (e.g., snake) fear-eliciting creature. Americans labeled the protagonist's emotion for imaginary fear stories as scared significantly more often than for realistic ones; Palestinians labeled the protagonist's emotion for both types as scared with equal probability. Children in both groups associated escape-related behaviors (e.g., running away) with both imaginary and realistic fear elicitors, but they associated inquisitive behaviors (e.g., going to look) exclusively with imaginary fear elicitors. Thus, culture plays a role in what children identify as scary but not in the behavioral responses they associate with different fear elicitors.
Journal Article
Who's Afraid of the Big Bad Wolf?: Domestic Violence in The Shining
At first glance, Stanley Kubrick's 1980 film \"The Shining\" (and the 1977 Stephen King novel from which the film was adapted) seems to be a straightforward Gothic horror film, but the Gothic genre becomes a vehicle for a serious tale about violence within the family. The \"discovery\" (or uncovering) of child abuse and wife-beating in the 1960s by the feminist movement created a frame that allowed viewers to perceive domestic violence with a new level of understanding. It is the author's contention that \"The Shining\" comments on domestic violence in a way that has been mostly overlooked by critics of the book and film. This essay offers a sociological approach focused on the profound effect of changing social mores on cultural production and drasw on feminist and queer theorizing of audience identification, gender and erotic pleasure in horror films to explain the signficant contributions made by King, Kubrick, Shelley Duvall and screenwriter Diane Johnson to the film's intervention in US public discourse about domestic violence. OA
Journal Article
Who's Afraid of the Big Bad Wolf?: Domestic Violence in The Shining
Sociologists and the medical and legal professions did not take \"wife beating\" seriously until the mid-1970s, when the women's movement brought public attention to spousal abuse.5 Child abuse and \"battered-child syndrome\" had been \"discovered\" as social problems only slightly earlier, in the 1960s. Jack, the family patriarch, is gradually possessed by the evil spirits in the hotel and eventually tries to kill his family.\\n97 In vanquishing those labelled sexually deviant by the films they are in, the female protagonist becomes, ironically, an agent of patriarchal normativity whose actions restore the status quo, according to Greven.98 As the \"final girl\" is transformed into a woman in the typical slasher film, Greven explains, she is \"prepared for proper heterosexual, presumably marital fulfillment,\" thus resolving the tensions described by the Demeter-Persephone myth.99 Yet, in The Shining, those \"queer monsters\" are not the only monsters Wendy faces: her husband, Jack, has been transformed into the Big Bad Wolf, a patriarchal monster, which she also vanquishes.
Journal Article
Monster Pains: Masochism, Menstruation, and Identification in the Horror Film
AbstractAviva Briefel examines the ways in which the horror film's gendering of the monster's pain affects audience identification. Male monsters in these films are associated with acts of masochism that allow for a comfortable spectatorial distance. In contrast, female monsters precede their sadistic rampages with moments of menstruation, which claustrophobically draw their audiences to them.
Journal Article
The Global Phallus: On the Digital and Allegorical Economy of the Hispanic Subaltern in Hollywood Film
In order to recycle old names and solve old antagonisms, here the term \"Hispanic\" will be used, not against that of \"Latino,\" but as a more general one encompassing the two global borders that define the Latino and Latin-American/Spanish condition. [...]a Hispanic, intercultural border theory would help us understand several interconnected problems such as North American global hegemony, the ensuing Hispanic global subalternity as well as the hibridating border relationship between both cultural areas. [...]I would like to suggest that the Hispanic case is probably the most problematic one, since the absence of a reference points to a deep ambivalence, whereby Hispanic minorities are clearly and necessarily peripheral in Spielberg's blockbuster films and yet impossible to represent as such, in a \"minority film. Muren also narrates the reaction this technology had on Spielberg: \"But Steven realized that there was something extraordinary going on here and he decided rather unexpectedly to do everything except the live stuff with computer graphics\" (Shay and Duncan 52). [...]if any spectator wanted to see this awesome display of digital technology, he or she had to see Jurassic Park.8 At the same time, the fact that a global audience wanted to see the film had a secondary effect of globalization in the sense that in order to become a global spectator any viewer had to see the film that the rest of the world was watching. [...]this analysis emphasizes the incorporation of a \"psychological apparatus\" to main border theory (Anzaldua) or theories of hybridization (Garcia Canclini), so that the border can also be thought out as producing specific subject positions and effects.
Journal Article
Shanghai
Pereleshin’s trip turned into “the most horrible nightmare.” The train was overcrowded with “long-suffering” Chinese, some travelling even in the toilets. After crossing the Yangzi by ferry, they waited for the delayed train and, as people pushed at the barriers, Japanese guards, “drunk with power” and “with impassive and almost cheerful faces,” took off their belts and lashed out at the crowd. Pereleshin, caught like “a dumb woodchip,” barely escaped the lashes and nearly lost his travel bag.¹ On 3 November 1943 he finally arrived in Shanghai. The city was “starving and freezing, a curfew was imposed from 11:00 at
Book Chapter
Stalking Legendary Creatures
\"Cryptozoologists try to find animals that are rumored to exist, but have not yet been proved to be real.\" (Christian Science Monitor) One cryptozoologist discusses some of his experiences while researching animals in New Guinea and Africa. An animal quiz is included.
Newspaper Article
Reading the Fantastic after Badiou and Deleuze
So far, in their reading of literature, Badiou and Deleuze have dictated the agenda. Reading Mallarmé with Badiou and a host of writers, modernist and otherwise, with Deleuze has confined us to the narrow, or not so narrow, ambit of their respective canons. The time has come to try to put their strong readings to work on texts which they themselves blissfully ignore. There is no mention of either Frankenstein or Dracula in Badiou, because when he is not reading poems for their latent prose, he is reading avant-garde prose for its latent poem: something which cannot easily be done
Book Chapter
Chicago Tribune Christopher Borrelli column
[...]even his father, Stephen Condren, a visual artist, while not relishing his son's choice of material, is more philosophical than uneasy: \"I told him that I didn't think it was wise because one day he might look back and wish that he'd rethought things. Being a stand-up in 2012 means seeming relatable, approachable, having a Twitter account, a Facebook profile, YouTube videos; it means recording introspective podcasts so immediate a listener feels as if the comedian is playing to an audience of one.
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