Trauma and Agency in the Remake of a Nightmare on Elm Street

Este é um artigo publicado em acesso aberto (Open Access) sob a licença Creative article Commons Attribution, que permite uso, distribuição e reprodução em qualquer meio, sem restrições desde que o trabalho original seja corretamente citado. “Nightmare is over”: Trauma and Agency in the Remake of A Nightmare on Elm Street Rosana Ruas Machado GomesI https://orcid.org/0000-0002-1104-0863 I - Universidade Federal do Rio Grande do Sul. Porto Alegre (RS). Brasil. Abstract: The 2010 remake of the horror film A Nightmare on Elm Street focuses on the earthly abuses committed by the now confirmed pedophile Freddy Krueger. The fact that the victims of Krueger’s sexual assaults start get- ting murdered in their sleep is relevant to the trauma studies, as nightmares are one of the most common symptoms observed in people diagnosed with Post Traumatic Stress Disorder. Therefore, one of the goals of this paper is to analyze the ways in which trauma is portrayed in the movie. Considering that the teenagers can only overcome Krueger — and therefore, their trauma — once they are able to witness the terrible events of their past, this work also aims at observing and discussing the trajectory that allows the protagonists to survive. In order to meet these goals, some central concepts to trauma theory are presented and discussed in relation to their portrayal in the film. The analysis shows that the main character Nancy can only defeat Krueger once she knows everything that has happened in the past and is able to have agency in the story. Keywords: audiovisual; A Nightmare on Elm Street; horror; trauma. Resumo: “O pesadelo acabou”: Trauma e Agência no Remake de A Hora do Pesadelo - O remake de A Hora do Pesadelo (2010) explora os abusos mun- danos cometidos pelo pedófilo Freddy Krueger. O fato de que as vítimas de seus crimes são assassinadas durante o sono é relevante para os estudos de trauma, visto que os pesadelos são um dos sintomas mais comuns exibidos por 1 Galáxia (São Paulo, online), ISSN: 1982-2553. Publicação Contínua. e51921 http://dx.doi.org/10.1590/1982-2553202151921. Nº 46, 2021, pp. 1-17. article “Nightmare is over”: Trauma and Agency in the Remake of A Nightmare on Elm Street pessoas diagnosticadas com transtorno do estresse pós-traumático. Portanto, um dos objetivos deste artigo é analisar as maneiras através das quais o trauma é retratado no filme. Os adolescentes somente conseguem vencer Krueger e, portanto, seus traumas, quando se tornam capazes de testemunhar os terríveis eventos de seu passado. Assim sendo, este trabalho também busca observar e discutir a trajetória que torna possível a sobrevivência dos jovens. Alguns conceitos chave para a teoria do trauma são apresentados e discutidos com relação à sua representação no filme. A análise mostra que a protagonista Nancy somente consegue derrotar Krueger ao tomar conhecimento de tudo que aconteceu em seu passado e adquirir agência na história. Palavras-chave: audiovisual; A Hora do Pesadelo; terror; trauma. Introduction Joanne Leal (2020) highlights the role of cinema as a powerful means of commu- nication, as films are able to speak to their audiences in multiple ways, including language, music, images, and narrative. Graeme Turner’s (1999) book Film as Social Practice also focuses on the interface between cinema and communica- tion, discussing film through a cultural studies perspective. The scholar notes that up to the end of the twentieth century, film studies tended to be largely dominated by the perspective of the aesthetic analysis, in which movies’ ability to become art through the arrangement of images and sound was the main focus. He then introduces his book as breaking with such perspective, studying film as narrative, entertainment, and cultural event: “The book is intended to introduce film as social practice, and the understanding of its production and consumption, its pleasures and its meanings, is enclosed within the study of the working of culture itself” (TURNER, 1999, p. 2). Turner (1999) argues that the function of films in our culture goes beyond that of being an exhibited aesthetic object. In his understanding, the audience’s pleasure is a dominant consideration for both the audience and the produ- cers when it comes to popular films. Movies provide us with pleasure in our enjoyment of the event itself, in our recognition of styles, stars, and genres, and in the spectacle of representations on the screen. Popular films tend to have a life beyond their theater reruns, becoming part of our personal culture and our identity (TURNER, 1999). Thus, Turner (1999, p. 3) reflects on them as “a social practice for its makers and its audience; in its narrati- ves and meanings we can locate evidence of the ways in which our culture makes sense of itself”. 2 Galáxia (São Paulo, online), ISSN: 1982-2553. Publicação Contínua. e51921 http://dx.doi.org/10.1590/1982-2553202151921. Nº 46, 2021, pp. 1-17. article Rosana Ruas Machado Gomes The scholar also observes that the insertion into film studies of methods taken from disciplines such as psychoanalysis, linguistics, semiotics, and anthropology has culminated in the film becoming “part of a wider argument about representation — the social process of making images, sounds, signs, stand for something — in film or television” (TURNER, 1999, p. 48, empha- sis in the original). Thus, it becomes part of a wider field of approaches and disciplines called cultural studies. Having these observations in mind, the present paper discusses the representation of trauma in the 2010 remake of A Nightmare on Elm Street. The images, language and narrative are associated with psychoanalyst formula- tions of trauma. It is also speculated that there is a connection between the mundane abuses showed in the remake with the anxieties of a 21st century audience (ZANINI, 2019). Furthermore, the agency regained at the end of the movie by main character Nancy can be understood as a pleasant victory for the audience, in possible connection to their own fears. Claudio Zanini (2019, p. 200) notes that, during the late 1970s and early 1980s, film audiences witnessed the increase of on-screen violence due to the emergence of the slasher, a subset of the horror cinema characterized by “the presence of a psychotic killer responsible for multiple murders whose face is invariably covered, leaving victims and audience members alike in suspense regarding the murderer’s identity and motivation”. Scholars typi- cally identify John Carpenter’s Halloween (1978) as the first slasher, since its plot presents a mysterious serial killer who murderers a group of teenagers, with the exception of a character with whom he has a climax confrontation (ZANINI, 2019). Such type of character has become known as the final girl,a term coined by Carol J. Clover. One of the most famous slasher franchises ever produced is Wes Craven’s A Nightmare on Elm Street. The first film was released in 1984. Since then, six other movies, an anthology television series called Freddy’s Nightmares (1988-1990), a crossover with the Friday the 13th universe entitled Freddy vs Jason, and a 2010 remake of the first film have been produced (Zanini, 2019). Given the franchise’s popularity, it is not a surprise that many critical works have analyzed the movies. Among them, we can cite two feminist readings: Kyle Christensen’s “The Final Girl versus Wes Craven’s ‘A Nightmare on Elm Street’: Proposing a Stronger Model of Feminism in Slasher Horror Cinema” (2011) and “’Look What You Did to me!’: (Anti) Feminism and Extratextuality in 3 Galáxia (São Paulo, online), ISSN: 1982-2553. Publicação Contínua. e51921 http://dx.doi.org/10.1590/1982-2553202151921. Nº 46, 2021, pp. 1-17. article “Nightmare is over”: Trauma and Agency in the Remake of A Nightmare on Elm Street the Remake of A Nightmare on Elm Street” (2016). Additionally, some works have explored the Gothic feature in Craven’s franchise, such as Kendall R. Phillips’ “Craven’s Gothic Form: Nightmares, Screams, and Monsters” (2012) and David Kingsley’s “Elm Street’s Gothc Roots: Unearthing Incest in Wes Craven’s 1984 Nightmare” (2016). The franchise of A Nightmare on Elm’s Street presents as its villain the serial killer Freddy Krueger, a child murderer who is burned alive by parents seeking justice for their assassinated offspring in the fictional town of Springwood. In the form of some vengeful supernatural being, Freddy returns to assault and murder teenagers — often the children of the vigilante parents who partook in his killing — in their sleep. Once someone is murdered by Krueger in the dream world, they will also die in reality. Freddy Krueger has achieved the status of a pop icon over the years. It is possible to buy T-shirts, posters and action figures of the assassin. Such fame, as noted by Zanini (2019) in his paper “’It hurts ‘cause you’re in my world now, bitch’: gothic features in the 1984 and 2010 versions of A Nightmare on Elm Street”, has produced quite a few differences in Freddy’s presenta- tion and characterization in the two films. In the opening sequence for the 1984 original, Krueger’s presence is merely suggested through shadows on the wall and the introduction of his razor glove and fedora hat. In the 2010 remake, as Freddy has already been established as a pop icon for decades, he cannot be suggested as a novelty. The latest version also confirms that Freddy was a pedophile — something that was merely hinted at in the 1984 movie. As Zanini (2019, p. 209) observes, this human evil makes the character more disturbing and horrendous for twenty-first century audiences, since “the certainty of Freddy’s earthly abuses enhances the powerful role of trauma in his supernatural existence, updating both his villainy and his Gothic potential in contemporary times”.

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