Introduction 1 the Good Mother

Home , Demon Seed, Frank Perry, The Brood, The Orphanage (company), William Girdler

Notes

Introduction

1. By ‘motherhood’ I am referring to the character of the mother and the practice of motherhood on screen. By the ‘maternal’ I am referring to the characteristics and symbolism which evoke motherhood. 2. This is not to suggest that the figure of the mother is entirely absent from pre-1960s cinema, rather that a range of socio-economic factors led to a development in the horror genre. For the purposes of clarity I wish to focus on post-Classical horror cinema. 3. This is not to suggest that no debates about motherhood existed prior to this, rather that discussions of the mother in film increased greatly after these years. 4. The woman’s film centres on a female protagonist, deals with specifically ‘female’ issues (such as motherhood or domesticity) and is aimed at a female audience. For Doane, the maternal melodrama is a sub-category of the woman’s film. While the maternal melodrama is more readily associated with films of the Classical Hollywood period, it remains a popular sub-genre of modern mainstream cinema. The maternal melodrama, as the name suggests, deals with the figure of the mother and the impact of motherhood on her life or that of the child. 5. This is not to suggest that discussion of the mother/maternal is limited to these genres, simply that they seem to have provoked the most interest. 6. For example, see Alien and the various studies by Creed, Bundtzen or Rosemary’s Baby as discussed by Fischer or Kuhn. 7. See Mulvey (2000); De Lauretis, Teresa, Alice Doesn’t: Feminism, Semiotics, Cinema, Bloomington: Indiana University Press, 1984.

1 The Good Mother

1. Drawing from Jung, Eric Neumann discusses the archetype of the Great Mother in detail. He examines various incarnations of Terrible and Good Mothers throughout civilisation. 2. I have taken this name from the book Cinematernity: Film, Motherhood, Genre by Lucy Fischer. 3. See Williams, Tony, Hearths of Darkness: the Family in the American Horror Film, London & Cranberry, NJ: Associated University Press, 1996. Also, as previously discussed: Wood, Robin (1985), Sobchack, Vivian (1996) 4. This is also the family that is most privileged in Western literature, ﬁlm and media as well as legally.

185 186 Notes

5. I use the term successful as this form of mothering, which reproduces essential motherhood through maternal masochism and self-sacrifice, is established as the normative mode of nuclear family relations. 6. See Waller, Gregory A., ed., American Horrors: Essay on the Modern American Horror, Urbana: University of Illinois Press, 1987 or Isabel Cristina Pinedo’s Recreational Terror: Women and the Pleasures of Horror Film Viewing. 7. It is worth noting that in the film the majority of people who openly sus- pect that something is wrong and who strongly resist becoming infected are women. Women protest while men assimilate. Twice Carol is told by men to play along and act as one of them so that they can ‘pass’. Carol and other women are often detected by their emotion, usually considered a feminine quality. 8. Apocalyptic films are those which envision the end of the world through the motifs of natural catastrophe, disease, or supernatural forces. A good many of these films may be understood as representing a crisis of patriarchy. In some, the entire symbolic universe is destroyed, in others it is salvaged, albeit with the necessary revisions. The mother may act as a symbol of hope for the future (as I will discuss in later chapters) or she may be destroyed along with everything and everyone else.

2 The Bad Mother

1. For example, both Alien and Carrie have provoked a great deal of discussion about maternity in the horror film, yet rarely is the thematic strand fully explored. Even though Creed discusses both films, she does not explore the interrelationship between the mother in film and the maternal (imagery, for example). See Creed (1992), Bundtzen (1987), Scobie (1993), and Berenstein (1990) for discussions about Alien. See Creed (1992), Stamp Lindsey (1996) for a discussion of Carrie (which reads the mother through the experiences of the child). 2. For example, readings of films such as The Exorcist and Carrie often emphasise the role of the child and do not consider the function of the mother (or at least pay much less attention to her). See Sobchack (1996) and Wood (1985). 3. Creed’s work in turn has influenced a number of other theorists and film critics. 4. Another patient describes her as the Queen Bee among all the other patients. 5. There are two mothers in The Exorcist: Fr Karras’ mother, Mrs Karras, and Regan’s mother, Chris. I will be referring to both in this discussion, since the concept of absence is relevant to both figures. 6. See Creed (1992), Hutchings (2004), Jancovich (2002). 7. Even though Norman Bates kills his mother, she remains psychically alive to him. He keeps her alive by taking on her persona. 8. In the film, a mother brings her adopted daughter back to the town of her birth seeking a possible solution for the young girl’s nightmares. The town is destroyed, but mother and child unknowingly enter into a ghostly and empty alternative world. Within this world, there is also a hellish world which is inhabited by the original townspeople. Notes 187

3 A Comparative Analysis of Motherhood in Recent Japanese and US Horror Films

1. For example, there are similar mythological maternal figures. The ghost story or haunting story is common to both cultures. Likewise, early Japanese cinema drew heavily on the tradition of Western cinema. 2. Before the end of WW2 the Japanese family was characterised by the Ie system, which was legalised from the later 1800s. This was an extended, multigenerational family led by a patriarch (usually the oldest male). Inheritance operated through the male line. Filial piety was paramount. While this family structure existed prior to the Meiji Civil Code of 1898, it was a legal structure from then until the post-war years. People were registered through the family, not as individuals and women married into the family of the husband. After WW2 this structure was abol- ished and emphasis was placed on the marriage of two individuals, rather than the Ie. Likewise, women were granted rights regarding children and inheritance. 3. Like the Oedipus complex, the Ajase complex is based upon a myth. In it, a queen, fearing that her unborn child may be the reincarnation of a sage she had murdered, tries to abort her pregnancy. This fails and she later tries, and fails, to kill the child. However, she comes to love the child. In later years the queen’s son learns of his mother’s actions and, in anger, tries to kill her. Overcome with guilt he develops rancid pores that emit a foul odour. Only his mother can tolerate his condition and she nurses him back to health, during which both forgive each other. 4. The samurai family was a male-dominated extended family. 5. Here, I am not referring to the genre of melodrama (in its Western form) but to melodramatic motifs, which are a feature of both Western and Japanese melodrama. 6. For example, stories such as Ugetsu Monogatari and Akinari Uedo. 7. For example, Lafond, Frank, ‘Case Study: Ishi Takeshi’s Freeze Me and the Rape-Revenge Film,’ in Japanese Horror Cinema, ed. Jay McRoy, Edinburgh: Edinburgh University Press, 2006, pp. 77–85. 8. For example, McRoy, Jay, ‘Cultural Transformation, Corporeal Prohibi- tions and Body Horror in Sato Hisayasu’s Naked Blood,’ in Japanese Horror Cinema, ed. Jay McRoy, Edinburgh: Edinburgh University Press, 2006, pp. 107–119. 9. Originally a short story, ‘Floating Water’, in the book by Koji Suzuki, Dark Water, New York: Vertical Press, 2004. 10. Yoshimi is helped by a male lawyer but he is of far less significance than the lawyer of the US film. 11. For example, the Ajase complex (Japanese psychoanalysis) and the Mater- nal self-sacrifice paradigm (Western psychoanalysis).

4 Pregnancy in the Horror Film: Reproduction and Maternal Discourses

1. For example, Eric Neumann includes an index of imagery relating to motherhood and pregnancy. One such image of the pregnant Virgin Mary 188 Notes

from Germany circa 1400 shows the baby in the region of the pregnant belly, rather than simply showing just the pregnant belly. 2. This recalls medieval artistic representations of the pregnant Virgin Mary, which showed the child in the womb. Later the church was to deem such images indecent. 3. Similar motifs and patterns are evident in a number of ‘devil’ impregna- tion horror films such as Rosemary’s Baby, The Visitor and Blessed.Inthese films, like other invasion pregnancy films, the female body is structured as passive and as a receptacle or a vessel with the potential for corruption. 4. Since this book discusses discourses of motherhood (in motherhood as well as pregnancy films), and since Rosemary’s Baby does not necessar- ily collapse motherhood onto the pregnant body, I have chosen not to discuss the film in great detail.

Conclusion

1. We only see the dead body of Mrs Bates in Psycho, and in The Seventh Sign Abbey is only an actual mother very brieﬂy at the end of the ﬁlm. Bibliography

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A Page of Madness (Kinugasa Teinosuke, Silent Screen Movie Classics, Japan, 1926) Alien (Ridley Scott, 20th Century Fox, US, 1979) All That Heaven Allows (Douglas Sirk, Universal International Pictures, US, 1955) The Amityville Horror (Stuart Rosenberg, American International Pictures, US, 1980) An American Haunting (Courtney Solomon, Freestyle Releasing, US, 2005) An Unmarried Woman (Paul Mazursky, 20th Century Fox, US, 1978) Arachnophobia (Frank Marshall, Hollywood Pictures, US, 1990) The Astronaut’s Wife (Rand Ravich, New Line Cinema, US, 1999) Audition (Miike Takeshi, Vitagraph Films, Japan, 2000) Baby Blood (Alain Robak, Neuf de Coeur, FR, 1990) The Birds (Alfred Hitchcock, Universal Pictures, US, 1963) The Brood (David Cronenberg, New World Pictures, Can, 1979) Carrie (Brian DePalma, United Artists, US, 1976) Child of Darkness, Child of Light (Marina Sargenti, Paramount, US, 1991) Cure (Kiyoshi Kurosawa, Cowboy Pictures/ Daiei Company, Japan, 1997) The Dark (John Fawcett, Hoyts Distribution, Can, 2005) Dark Water (Nakata Hideo, Toho Company Ltd., Japan, 2003) Dark Water (Walter Salles, Touchstone Pictures, US, 2005) Demon Seed (Donald Cammell, Metro-Goldwyn-Mayer/United Artists, US, 1977) Embryo (Ralph Nelson, Cine Artists Pictures, US, 1976) Eraserhead (David Lynch, Libra Films, US, 1978) The Exorcism of Emily Rose (Scott Derrickson, Sony/Screen Gems, US, 2005) The Exorcist (William Friedkin, Warner Bros, US, 1973) The Eye (Oxide and Danny Pang, Mediacorp Raintree Pictures, Hong Kong/ Singapore, 2002) The Fly (David Cronenberg, 20th Century Fox, UK/Can/US, 1986) Friday the 13th (Sean Cunningham, Paramount Pictures/Warner Bros Pictures, US, 1980) Gaslight (George Cukor, Metro-Goldwyn-Mayer, US, 1944) TheGhostsofYotsuya(Nobuo Nakagawa, Shintoho Company, Japan, 1959) The Godsend (Gabrielle Beaumont, Cannon Film Distributors, UK, 1980) Godzilla (Ishiro¯ Honda, Toho, Japan, 1954) Grace (Paul Solet, Anchor Bay Entertainment, US, 2009) The Grudge (Takeshi Shimizu, Columbia Pictures, Japan, 2004) Halloween (John Carpenter, Compass International, US, 1978) Halloween (Rob Zombie, Dimension Films, US, 2007)

198 Filmography 199

The Haunting (Robert Wise, Metro-Goldwyn-Mayer, US, 1960) The Haunting in Connecticut (Peter Cornell, Lionsgate, US, 2009) Henry: Portrait of a Serial Killer (John McNaughton, Greycat Films, US, 1986) Hide and Seek (John Polson, 20th Century Fox, US, 2005) The Hills Have Eyes (Wes Craven, Vanguard, US, 1977) Inseminoid (Norman J. Warren, Umbrella Entertainment, GB, 1981) Invasion (Oliver Hirschbiegel, Warner Bros Pictures, US, 2007) Invasion of the Body Snatchers (Don Siegel, Allied Artists Pictures Corporation, US, 1956) It Lives Again (Larry Cohen, Warner Bros Pictures, US, 1978) It’s Alive (Larry Cohen, Warner Bros, US, 1974) Ju-On: The Grudge (Shimizu Takeshi, Toho Company Ltd., Japan, 2002) Kramer Vs Kramer (Robert Benton, Columbia Pictures, US, 1979) Kwaidan (Kobayashi Masaki, Toho Company Ltd., Japan, 1964) Legion (Scott Stewart, Screen Gems, US, 2009) The Manchurian Candidate (John Frankenheimer, United Artists, US, 1962) The Manitou (William Girdler, Avco Embassy Pictures, US, 1978) Marnie (Alfred Hitchcock, Universal Pictures, US, 1964) Mildred Pierce, (Michael Curtiz, Warner Bros, US, 1945) Mimic (Guillermo del Toro, Miramax Films, US, 1997) Mommie Dearest (Frank Perry, Paramount Pictures, US, 1981) Mother’s Boys (Yves Simoneau, Dimension Films, US, 1994) Mum & Dad (Steven Sheil, Revolver Entertainment, GB, 2008) NightoftheLivingDead(George A. Romero, The Walter Reade Organization, US, 1968) A Nightmare on Elm Street (Wes Craven, New Line Cinema, US, 1984) North by Northwest (Alfred Hitchcock, Metro-Goldwyn-Mayer, US, 1959) Now, Voyager (Irving Rapper, Warner Bros, US, 1942) The Omen (Richard Donner, 20th Century Fox, US, 1976) Onibaba (Shindo Kaneto, Toho Company Ltd., Japan, 1964) Ordinary People (Robert Redford, Paramount Pictures, US, 1980) The Orphan (Jaume Collet-Serra, Warner Bros, US, 2009) The Orphanage (Juan Antonio Bayona, Picturehouse, SP/Mex, 2007 The Others (Alejandro Amenabar, Dimension Films, US/SP, 2001) The People Under the Stairs (Wes Craven, Universal Pictures, US, 1991) Poltergeist (Tobe Hooper, Metro-Goldwyn-Mayer, US, 1985) Prophecy 2 (Greg Spense, Dimension Films, US, 1998) Psycho (Alfred Hitchcock, Paramount Pictures, US, 1960) Pulse (Kiyoshi Kurosawa, Toho Company Ltd., Japan, 2001) Rabid (David Cronenberg, Cinepix Film Properties Inc./New World Pictures, Can, 1977) Rebecca (Alfred Hitchcock, Selznick International Pictures, US, 1940) The Ring (Gore Verbinski, Dreamworks SKG, US, 2002) Ringu (Nakata Hideo, Toho Company Ltd., Japan, 1998) Rosemary’s Baby (Roman Polanski, Paramount Pictures, US, 1968) Scanners (David Cronenberg, Avco Embassy Pictures, Can, 1981) 200 Filmography

Scream (Wes Craven, Dimension Films, US, 1996) Serial Mom (John Waters, HBO Films/Savoy Pictures, US, 1994) Seventh Sign (Carl Schultz, TriStar Pictures, US, 1988) The Shining (Stanley Kubrick, Warner Bros, US, 1980) Silent Hill (Christophe Gans, TriStar Pictures, Can, 2006) Sixth Sense (M. Night Shyamalan, Buena Vista Pictures, US, 1999) Sleepwalkers (Mick Garris, Columbia Pictures, US, 1992) Steel Magnolias (Herbert Ross, TriStar Pictures, US, 1989) Stella Dallas (King Vidor, United Artists, US, 1937) The Stepfather (Joseph Ruben, New Century, US, 1987) Suddenly, Last Summer (Joseph L. Mankiewicz, Columbia Pictures, US, 1950) Terms of Endearment (James L. Brooks, Paramount Pictures, US, 1983) The Texas Chainsaw Massacre (Tobe Hooper, Bryanston Distribution Company, US, 1974) Ugetsu Monogatari (Mizoguchi Kenji, Daiei, Japan, 1953) Up The Sandbox (Irvin Kershner, Warner Bros, US, 1972) The Visitor (Giulio Paradisi, Film Ventures International, US, 1979) What Lies Beneath (Robert Zemeckis, 20th Century Fox, US, 2000) Index

abjection Beard, William, 88, 89 bad mother, 70 Bellour, Raymond, 20–1 borderline, 74 The Birds (1963), 75, 76 confrontation with, 86 Bisplinghoff, Gretchen, 131 Creed and horror ﬁlm, 70, 74–5 Boston Women’s Health Course fascination and repulsion, 75 Collective, 154 jouissance, 75–6 The Brood (1979), 34, 46, 68, 70, 71, Kristeva, 14–17, 69, 73–4 76, 78–9, 79–90, 95, 131, 156 maternal authority, 73–4 Brooks, Peter, 42–3 Mother in horror ﬁlm, 26–7 Brophy, Philip, 47 pregnancy, 151, 154–6, 161, Browne, Nick, 127–8 162, 166, 169–70 Bruce, Susan, 111 rituals, 73 self and other, 74 Campbell, Jan, 131 spectral/absent mother, 103 Carrie (1976), 57, 61, 62, 68, 75, 91, supernatural and abjection, 92, 93–4, 98–9, 102, 105, 112 149–51 Carroll, Noël, 3 Ajase complex, 120, 143–4 Child of Darkness, Child of Light Alien (1979), 34, 182 (1991), 171 Allison, Anne, 143 Chodorow, Nancy, 6–7 All That Heaven Allows (1955), 83 Christianity, 15–16 Alraune, 145 baptism, 174–6 amae, 120, 143–4 Cult of Virgin Mary, 15–16, 41 The Amityville Horror (1980), 46, 48, 79 imagery, 3 An American Haunting (2005), 38, Madonna and child, 158, 169–71, 51–2, 66 177–9 Anderson, Joseph & Richie, Madonna image, 12, 27, 66 Donald, 122 Clover, Carol, 30–3, 41 anime, 117 Constable, Catherine, 74 The Astronaut’s Wife (1999), 158, Cook, Pam, 20, 84, 127–8 164–7, 169 Cornyetz, Nina, 149–50 Audition (2000), 124 Creed, Barbara, 27, 59, 123 avenging ghost story, 123–4, 153 abjection, 74–6 archaic mother, 31–2 Baby Blood (1990), 167 The Brood, 80–90 Badinter, Elisabeth, 173 Little Hans, 96–7, 148–9 Badley, Linda, 86 maternal body, 33–6 Bakhtin, Mikhail, 161–2 monstrous feminine, 33–6, 124 Balmain, Colette, 122 pregnancy, 156, 162, 165 baptism, 174–6 womb, 34–5, 80

201 202 Index

Cronenberg, David, 79–80, 86 Oedipal Complex, 7–8, 12, 96, 97, cultural exchange, 117 113, 120, 143–4 Cure (1997), 137 uncanny, 15, 35, 92 Friday the, 13th (1980), 68, 181 The Dark (2005), 28, 68, 78, 92, 104–9, 111 Gaslight (1944), 92 Dark Water Japan (2003), 116, 119, TheGhostsofYotsuya(1959), 123 123, 125, 126–37, 138, 152, 153 Gledhill, Christine, 3–4 Dark Water US (2005), 28, 116, 119, The Godsend (1980), 156 123, 126–37, 152, 153 Godzilla (1954), 122 Davis, Darrell William, 117 Goldberg, Ruth, 116–17, 122, 124–5 Dead Ringers (1988), 86 good/bad breast, 82, 113 deigan, 124 see also Klein, Melanie De Lauretis, Teresa, 21 gothic melodrama, 106 Demon Seed (1977), 156, 158, 164, Grace (2009), 164, 167–9 166–7 Gross, Harriet, 157 DiQuinzio, Patricia, 13–14, 39 Grosz, Elizabeth, 10–11 Doane, Mary Ann, 18, 21, 74, 83, The Grudge (2004), 118 112, 127, 132 guilt, 81, 94, 98, 102–3, 106, 125, domestication, 118, 138 143, 147 doppelgänger/double, 92, 106 Douglas, Mary, 73, 160 haha-mono, 116, 122, 123, 142 Halloween (2007), 71 Embryo (1976), 156 Hand, Richard J., 123 Eraserhead (1978), 46, 156 hannya, 124 Erens, Patricia Brett, 51, 57–8 Hantke, Steffan, 124–5 excess, 4, 29–31, 42, 43, 70, 77–9, Haskell, Molly, 22–3 88, 90, 128, 136 The Haunting (1960), 70, 91, 92, The Exorcism of Emily Rose (2005), 51 93–102, 105, 109–11, 113 The Exorcist (1973), 68, 79, 91, 92–9, The Haunting in Connecticut (2004), 60 100, 102, 105, 111, 113, 124 Henry: Portrait of a Serial Killer The Eye (2002), 137 (1986), 72 Hide and Seek (2005), 60 female gothic, 92 Hill, Matt, 137–8 female spectatorship, 21, 31, 132 The Hills Have Eyes (1979), 38, 46, ﬁnal girl, 30–3, 36, 41 47–8, 65, 79 Fischer, Lucy, 18, 142, 156 Hirsch, Marianne, 94–5 Flax, Jane, 8 Horney, Karen, 163 The Fly (1986), 86, 158 Huet, Marie-Helene, 72, 74–5, 166 foetal photography, 156, 159 Humm, Maggie, 80, 86, 90 foreignisation, 118 Hunter, I.Q., 165 Freeland, Cynthia, 2 hysteria, 18, 128–9, 130–1, 136, 150, Freud, Sigmund, 5, 7–8, 9, 15, 19, 41, 151, 159, 164, 169, 173 48, 56, 82 femininity, 56 Ie family structure, 120–1 Little Hans, 96, 148–9 Ikagai, 121 Index 203

infanticide, 106, 109, 150 Lacan, Jacques, 5, 8–13, 15 Inseminoid (1981), 158, 164–9 crocodile mother, 97 Invasion (2007), 28, 29, 38, 42, 60–5, good and bad mother, 33, 41 66, 67 jouissance, 15, 175–6 Invasion of the Body Snatchers (1956), 60 language, 8, 61, 64 Irigaray, Luce, 108, 109, 113, 155 mirror stage, 9–10 female subjectivity, 107 name of the father, 61–2 jouissance, 56 phallus, 8–9, 11–12, 15, 34, 56, 64, maternal voice, 103 97, 175 matricide, 73, 103–4 Lebra, Takei Sugiyama, 121 pregnancy, 155 Legion (2009), 171 It Lives Again (1978), 156 Lehmann, Peter, 116 It’s Alive (1974), 156, 167 Lev, Arlene Istvar, 96 Lewis, John, 60 Japanese family model, 116, 119, Little Hans, 96, 148–9 120–1 Long, Susan Orpett, 120 Japanese psychoanalysis, 119, 143–4 Lopez, J., 146 Johnson, Claire and Cook, Pam, 20 Lupton, Deborah, 161 Jones, Ernest, 148–9 Jordan, Brenda, 146–7 madness, 49, 72, 92, 102, 109, 122, Ju-On: The Grudge (2002), 123, 125 127, 131, 149, 169 Madonna image, 12, 66–7, 169–71 Kabuki theatre, 123, 124, 145 Magistrale, Tony, 74 kaidan, 123–4, 146–7 Manchurian Candidate (1962), 124 Kaplan, E. Ann, 18, 21, 22–3, 24, The Manitou (1978), 166 25–6, 45, 54, 61, 65, 74, 77, 127, Marnie (1964), 76, 78, 131 129, 131, 134, 150, 171–2, 175 Martin, Nina K., 135–6 Kawai, Hayao, 125 masochism, 4, 15, 24, 28, 30–3, 42, Klein, Christina, 117–18 50, 52, 57–8, 178–9, 181 Klein, Melanie, 81–2, 91, 113, 163 maternal Kosawa, Heisaku, 119–20, 143–4 abjection, 14–17, 73–5 Kramer vs. Kramer (1979), 18, 141 body, 9–16, 27, 35, 72–5, 81–8, Kristeva, Julia, 12–16, 72, 113 145, 149, 150–1 abject, 14, 69–70, 73–5, 99, 150–1 desire, 70, 85, 90, 98 chora, 12 imagination, 159–60, 166 Cult of Virgin Mary, 15–16, 41, masochism, 52, 57–8, 178–9 66–7, 177–8, 179 maternal authority, 14, 53, 58, jouissance, 15 74–5, 93, 97 matricide, 102–3, 107, 109, 113 melancholia, 91, 100–3 melancholia, 100–2 over-attachment, 93–4, 96 pregnancy, 155 perspective, 23, 26, 70–1, 83–4, reproductive body, 161 104–5, 138–40 semiotic, 12–13, 63, 106 subjectivity, 10, 16, 21, 24, 76, symbolic, 12–13 90, 111 Kukla, Rebecca, 159–60 transgression, 18, 69, 71, 109–10 Kwaidan (1964), 124 see also motherhood 204 Index

maternal melodrama, 4, 21–6, 28, imaginary, 9–10, 14, 35, 52, 29, 30, 39, 44, 47, 69, 70, 105, 86, 175 112, 116, 131–6 mother blame, 96–7, 137, 138 maternal self-sacriﬁce, 12, 15, 17, 22, mother as symptom, 5, 90, 128, 23–9, 37–45, 46, 51, 54, 65, 68, 130, 131 91, 109, 117, 119–26, 129, 131, Oedipal complex, 4–8 132–6, 152, 153, 172–8 omnipotent mother, 8–9, 17, 33, Mayne, Judith, 51 91, 97, 113, 165 McRoy, Jay, 123, 125 pre-Oedipal, 7–8, 12, 13, 33–4, 49, medical gaze, 83, 132 50–1, 56, 58, 63, 91, 96–7, melancholia, 91, 100–3 113, 143 abjection, 103 psychoanalysis, 5–17 suicide, 101–2 spectral/absent mother, 76, 91, 92, melodrama, 3–4, 17–18, 21–6, 94–5, 98, 103 28–33, 38–47, 51, 61, 65, 69–76, subjectivity, 16, 21, 24 83, 91, 92, 98, 105, 106, 112, symbolic, 9–17, 20, 34, 41, 46, 48, 117, 119, 125–7, 131–6, 141, 50–9, 61–7, 74–5, 80, 86–90, 142, 159, 181, 183 97–113, 120, 129, 134, 138, 141, 161, 172, 175, 178, 179 bad mother, 76–9 Terrible Mother, 72–3, 106 as cinematic mode, 43 see also mother-daughter excess, 77–9 relationships female gothic, 92 Mother’s Boys (1994), 77 haha mono, 116, 122, 142 Mulvey, Laura, 19–21, 30, 83, 127 and horror, 3–4, 28–33, 36 Mum & Dad (2008), 60 narrative and horror, 79–91 see also maternal melodrama Nanboku, Tsuruya, 146 Mendick, Xavier, 27 Napier, Susan, 124 Metz, Christian, 30, 128 Neumann, Eric, 37, 72–3 Mildred Pierce (1945), 131 Night of the Living Dead (1968), 38, misrecognition, 74, 92 45, 46, 65 Mommie Dearest (1981), 77 A Nightmare on Elm Street (1984), 46 mother blame, 96–7, 137, 138 Noh theatre, 123, 145 mother-daughter relationships, 8, North by Northwest (1959), 20 51, 83, 85, 105, 129, 131, 133–5 Nowell-Smith, Geoffrey, 77 motherhood Now, Voyager (1942), 131 abjection, 14–17, 73–5 nuclear family, 2, 25, 40, 43–8, 60–1, birth, 84–8 68, 85 essential motherhood, 39–43, 46, 49, 52–3, 65, 66–7, 71, 104–5, Ohinata, Masami, 120–1 110, 114, 115, 119, 126, 152, Okonogi, Keigo, 119 155, 156, 158, 159, 166–7, Oliver, Kelly and Trigo, Benigno, 151 171, 176–7, 180, 182 The Omen (1976), 46, 47 idealised, 4, 15, 26, 29, 37, 39, 53, Onibaba (1964), 124 120, 159, 167, 170, 171, 174, Ordinary People (1980), 18, 77, 141 176, 180 The Orphan (2004), 60 Index 205

The Orphanage (2007), 92 Psychoanalysis The Others (2001), 28, 32, 68, 70, 76, Ajase Complex, 120, 143–4 78, 92, 104–12 amae, 120, 143–4 Ozu, Yasujiro,¯ 116 Freud, 7–8, 113 Imaginary, 9–10 A Page of Madness (1926), 116 Japan, 119 parthenogenesis, 35, 84, 86, 150, 163 Klein, 81–2, 113 pathos, 30, 42–4, 47, 48, 56, 58, Kristeva, 12–16 66–7, 70, 122, 133–4, 183 Lacan, 8–12 penis envy, 8 Little Hans, 96, 148–9 The People Under the Stairs (1991), 68 melancholia, 100–1 Pinedo, Isabel Christina, 45 as a method, 2–3, 25, 36 point of view/perspective, 127–8 mother blame, 96–7 child, 70, 95, 138–40 penis envy, 8 Christian Metz, 128 pre-Symbolic, 13 masculine, 51, 83–8, 132–3, 172–3 spectatorship and Metz, 128 maternal, 10, 22, 24, 26, 84, womb envy, 163 104–5, 122 Pulse (2001), 137 maternal subjectivity, 91, 111 Nick Browne, 127–8 Rabid (1977), 86 Pollock, Griselda, 77 Rebecca (1940), 76, 92 Poltergeist (1985), 28, 29, 32, 38, 42, remakes, 117–18 53–9, 60, 61, 66, 67 Rich, Adrienne, 68, 154, 155 pornography, 29–30 The Ring (2002), 28, 32, 116, 128, pregnancy, 4–5 137–53 abjection, 151, 154 Ringu (1998), 116, 121, 123, 124, alien experience, 158, 164–7 125, 128, 137–53 Bakhtin, 161–2 Rose, Jacqueline, 100 birth, 84–8, 168 Rosemary’s Baby (1968), 18, 156, Creed and womb, 34–5, 151 178–9 Douglas, 160 Ruddick, Sara, 157 foetal photography, 159 jouissance, 171, 174, 175–6 Sadler, Joseph, 81 Kristeva, 155 Scanners (1981), 86 madness, 166–7 Schneider, Steven J., 2, 27 maternal body, 34–5 Schrader, Paul, 116 religion, 169–7 Scream (1996), 72 split identity, 154–5 secondary identiﬁcation (Metz), 128 Production Code, 45, 154 Serial Mom (1994), 77 projection, 76, 81–2, 91, 94, 95, 98, The Seventh Sign (1988), 28, 29, 169, 113, 163 171–7, 183 see also Klein, Melanie The Shining (1980), 32, 42, 46, The Prophecy 2 (1998), 169, 171, 176–9 48–53, 57, 58, 64, 66 Psycho (1960), 1–2, 3, 20, 68, 70, 71, Silent Hill (2006), 28, 29, 92, 104–10 75, 76, 78, 92–102, 112, 113, single mother, 60, 115, 122, 128, 124, 131, 182–3 132–3, 138–9, 142, 144 206 Index

Sixth Sense (1999), 68 vagina dentata, 72 Sleepwalkers (1992), 68, 71 Van Buren, Jane Silverman, Sobchack, Vivian, 28–9, 47, 141 170 Sorgenfrei, Carol Fischer, 120 Venuti, Lawrence, 118 spectral mother, 76, 91, 92, 94–5, The Visitor (1979), 156 98, 103 Viviani, Christian, 21 Steel Magnolias (1989), 78 Stella Dallas (1937), 21, 22–3, 133–4 Walker, Michelle Boulous, The Stepfather (1987), 46, 48, 50–1, 113 53, 57–8, 60, 61, 64, 66 Wallis, Tom & Pramaggiore, Maria, Suddenly, Last Summer (1950), 76 154 suicide, 100, 102–3, 104, 106–9, 148, What Lies Beneath (2000), 60 173–4 Williams, Linda, 18, 24, 29–30, 31–2, Suzuki, Midori Fukunishi, 139 42–3, 67, 70, 78, 83, 127, 134, 136 Table for Five (1983), 18 woman’s ﬁlm, 3, 21–2, 28, 43, 83–4, Terms of Endearment (1983), 78 105, 127–8 Terrible Mother, 72–3, 106 womb envy, 163 The Texas Chainsaw Massacre Wood, Nancy, 172 (1974), 46 Wood, Robin, 2, 79, 86 translation, 116, 118–19, 126, 153 working mother, 38, 65, transnationalism, 117, 124–5, 139–42 137, 138 The Turn of the Screw, 145 Yoshimoto, Mitsuhiro, 116 Yoshizumi, Kyoko, 121–2, 142 Ugetsu Monogatari (1953), 123 Yotsuya Ghost Story: Oiwa’s Ghost, uncanny, 4, 15, 35, 92, 95, 110, 146–7 117, 122 yurei, 145, 146–8