At the Midwest Popular Culture Association‘s 2014 conference, Chris and I presented the first analysis from our exorcism cinema project. The presentation is titled: Feminist tensions in exorcism cinema: Case study analysis and comparison of The Last Exorcism and The Last Exorcism Part II. What follows are the notes for the presentation, which constitute an early draft of a paper for this analysis.
This project is concerned with a subset of horror cinema that deals with a specific type of monster, that of the possessed person. According to Noel Carroll from The Philosophy of Horror (1990), monsters provide the foundation for horror movies by being contradictions. In horror stories, monsters are seen “as abnormal, as disturbances of the natural order” (p. 16). Thus monsters are impure, unclear and threatening because they are frequently presented as “categorically interstitial, categorically contradictory, incomplete, or formless” (p. 32). Monsters embody opposing binaries by simultaneously embodying features, themes, and metaphors that represent either good or bad – vampires and zombies are dead yet animated creatures, aliens are physical unknowns, werewolves are humans made animal, giant insects are the miniscule made large, and possessed people are humans yet demonic.
These stories model fear and disgust as the natural reaction to this unnaturalness, and thus position audiences to react with “horror” to abnormal manifestations just like the characters do. Horror movies are horrifying because they contain monsters that “are not only physically threatening; they are cognitively threatening. They are threats to common knowledge.” (p. 34) Therefore, viewers become scared emotionally because they fear the illogic of what they see embodied in the monster.
Continue reading “Feminist Tensions in The Last Exorcism and The Last Exorcism Part 2”
[This paper comes from 2007 and was completed for a qualitative methodology course at Ohio State University under the amazing Patti Lather. She encouraged us to try different methods of communication research results; so I did a comic book, which you can see here.]
What is digital game addiction?
A number of approaches, theories, and entire discourse communities have arisen in the past century to understand this thing called “addiction” (West, 2001; Bailey, 2005). According to West (2001), beginning with a behavioral psychology perspective, addiction “typically involves initial exposure to a stimulus followed by behaviors seeking to repeat the experience. After a number of repetitions of the behaviour-stimulus sequence, the addiction becomes established.” (p. 3). All the approaches, theories and discourses have attempted to explain this process of addiction. What leads to the initial exposure? What about the stimulus or the engaging with it leads to a desire to repeatedly seek it out? How does this repetition become so ingrained that it is hard, if not physically impossible, to stop using it?
Medical, psychological, sociological, anthropological, economical, theological — all have weighed in on what causes this repeating behavior that is seen as ultimately deleterious to the person, even to the point of being perverse and sociopathic. Addiction is seen by all as a loss of control, only the reason for this being lack of control changes depending upon one’s metatheoretical viewpoint. However, while many have used qualitative, phenomenological methods, such as in-depth interviewing, to understand the perspective and experiences of the addict, there has been no systematic attempt to theorize addiction from an interpretive or constructivist viewpoint (Davies, 1998; Hirschman, 1992; Larkin & Griffiths, 2002). That is, a common approach has been an a priori application of some theory developed from someone looking at the addict and not a grounded theorizing approach of looking at addiction as an addict.
Continue reading “Women self-identifying as digital game addicts: Their interpretations of power”
Part of the process of understanding the phenomenon of fractured fandom is to gather stories that thematically reveal its nature, such as my ongoing analysis of how My Little Pony: Friendship is Magic fans reacted to the feature film Equestria Girls and its soon-to-be sequel Rainbow Rocks. The more stories we can gather, then the more we can learn (tweet your stories with #fracturedfandom, whether the … Continue reading Problems with Perceptions in Fandom
This is an experimental research paper relaying women’s stories, gathered with Sense-Making Methodology interviews, of times they felt they were addicted to video games. My analysis, and thus the framing for this paper’s “narrative”, focuses on the dynamics of power in and around the women’s lives during this period of addiction. This representation of the research paper was constructed to play with the ideas of … Continue reading Women and Video Game Addiction: Experimenting with research narratives
I’m late in putting this out there, but it’s worth watching. This is a video from a Star Trek convention from 1973: that’s before the motion picture that reignited the franchise. So these are the true believers, those who followed the television series, and perhaps were starting with the short lived animated series. These were the precursors for all the conventions that would come, and … Continue reading Female Fans From the Beginning