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NEW BLOOD in CONTEMPORARY CINEMA W OMEN DIRECTORS and the POETICS of HORROR New Blood in Contemporary Cinema PATRICIA PISTERS NEW BLOOD IN CONTEMPORARY CINEMA W OMEN DIRECTORS AND THE POETICS OF HORROR New Blood in Contemporary Cinema New Blood in Contemporary Cinema Women Directors and the Poetics of Horror Patricia Pisters Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting- edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Patricia Pisters, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain. A CIP record for this book is available from the British Library ISBN 978 1 4744 6695 0 (hardback) ISBN 978 1 4744 6697 4 (webready PDF) ISBN 978 1 4744 6698 1 (epub) The right of Patricia Pisters to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents List of Figures vii Acknowledgements viii Introduction: Virginia’s Unruly Daughters and Carrie’s Crimson Sisters 1 Red Flags on the Red Carpet 1 The Bloody Difference: Virginia Woolf’s Unruly Daughters 5 Cinematic Poetics of Horror, Metaphors and Relations: A Note on Theory 11 Following a Trail of Blood: Carrie’s Crimson Sisters 16 Drop by Drop: Chapter Overview 18 1. Violence and Female Agency: Murderess, Her Body, Her Mind 23 Killing the Angel in the House: Finding a Voice of One’s Own 23 A Stab at Silence: Women Filmmakers in the 1970s and 1980s 25 Welcome to the Terrordome: Horrors of Racism 32 Rape Revenge: Resilience of Her Body 36 Domestic Violence: Unsafe Mental Spaces 43 Historic Murderess: Opacity of Her Mind 47 Blood Seeping Through a Glass Darkly 53 2. Growing Pains: Breasts, Blood and Fangs 54 Kiss of the Vampire: Embracing Lust and Loss 56 Bury Your Fangs in My Flesh: Blood Transfusions of a Genre Trope 56 Menarche Vampires: Coming of Age, Blood, Sex and Death 62 Virgin Suicides: Symptoms of a Larger Violence 69 Forever Young: Sucking the Life out of Others 72 Ferocious Bodies and Wounds in the Fabric of History 75 Mixing Blood: New Ethics of Vampirism 79 Dark Blood of the Body of Mythology and History 86 vi new blood in contemporary cinema 3. Longing and Lust, ‘Red Light’ on a ‘Dark Continent’ 88 The Horror of Female Sexuality 88 From ‘A Match Burning in a Crocus’ to a Slithering ‘Interior Scroll’ 89 Black and White Sapphic Attraction 93 Vagina Dentata, Witches and Other Man- Eaters 96 Turning the Witchboard: Opening Up, Breaking Free 100 Hunger for Flesh and Blood 105 A Poetic and Lustful Final Girl 111 Longing for a Ghost 116 ‘Pink Like the Inside of You, Baby’ 119 4. Growing Bellies, Failing Mothers, Scary Offspring 121 Mother of All Horror 121 Feminism, Pregnancy and Motherhood 124 The Experience of Pregnancy in Gynaehorror 127 Possessed by a Ghost Child 134 Frozen Blood: Suffocating Mothers without Subjectivity 136 Scared and Scary Mothers under Pressure 140 A Further Note on Parents and Other Blood Ties from Hell 145 Pregnant Boys and Non- human Motherhood 149 The Tentacular and Modular Spectrum of Procreation 154 5. Political Gutting, Crushed Life and Poetic Justice 155 Shattering Political Evil 155 Tortures and Terrors of Colonialism and Racism 158 Surviving on the Margins of Society 168 When Outlaws Take Over 173 Zombies and Ghosts for Poetic Justice 175 Eco- Horror and Resistance 178 A Monstrous Plant that Makes You Happy 183 The Green Blood of the Future 186 ‘When All You Love is Being Trashed’ 189 Conclusion: Bloody Red: Poetics, Patterns, Politics 191 Notes 201 Filmography 214 Bibliography 222 Index 237 Figures 1.1 Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975) 29 1.2 Welcome II the Terrordome (Ngozi Onwurah, 1993) 35 1.3 Revenge (Coralie Fargeat, 2018) 41 1.4 Retrospekt (Esther Rots, 2018) 45 2.1 The Velvet Vampire (Stephanie Rothman, 1970) 60 2.2 The Moth Diaries (Mary Harron, 2011) 67 2.3 Helter Skelter (Mika Ninagawa, 2012) 75 2.4 A Girl Walks Home Alone at Night (Ana Lily Amirpour, 2014) 86 3.1 Meat Joy (Carolee Schneemann, 1964) 92 3.2 I’m Not a Witch (Rungano Nyoni, 2017) 105 3.3 Raw (Julia Ducournau, 2016) 108 3.4 Longing for the Rain (Lina Yang, 2013) 117 4.1 One Sings, the Other Doesn’t (Agnès Varda, 1977) 126 4.2 Prevenge (Alice Lowe, 2017) 131 4.3 Blood Child (Jennifer Phillips, 2017) 136 4.4 Evolution (Lucile Hadžihalilović, 2015) 152 5.1 A Dry White Season (Euzhan Palcy, 1989) and White Material (Claire Denis, 2009) 160 5.2 Tigers Are Not Afraid (Issa López, 2017) 174 5.3 Spoor (Agnieszka Holland, 2017) 181 5.4 Glass Garden (Shin Su- Won, 2017) 188 Acknowledgements ‘Writing is always an incomplete completion and a complete incomple- tion’, writes Elisabeth von Samsonow in her book Anti- Electra. I want to repeat this statement because I have never felt the incomplete completion that this book is as such a complete incompletion, because the topic keeps growing. This project began as a chapter in an edited volume celebrating the twenty- fifth anniversary of Barbara Creed’s The Monstrous- Feminine, and I am therefore grateful to the editors of that volume and particularly Jeanette Hoorn, who put me back on the horror track. During the research for my contribution about female directors and horror aesthetics, I dis- covered so many interesting films directed by women that I soon decided that it should be a book- length project. During my research, however, I kept discovering new directors and new films, and every day I found new names, new titles, new interviews and references. I collected information from many different sources ranging from online lists of best horror films, best female- directed films, most scary mothers, etc. to cross- references in articles, talking to curators, film fans and colleagues as well as searching online platforms such as Netflix and MUBI, buying, renting or borrowing DVDs and obtaining temporary online links by approaching film critics, festivals, distributors and archives. What began as a small project grew in size and scope. I kept discovering and rediscovering material, never covering everything but always finding new gaps. Female directors from around the globe are appropriating and transforming the rules of the genre game, and by the time this book comes out many new films will have seen the (dark or bloodshot) light of day. Many more books will be necessary to cover the global extension of this relatively recent development in cinema to which I hope to make a small contribution. I am indebted to many people. First, I wish to thank Cinepoetics, the Centre for Advanced Film Studies at the Freie Universität Berlin, especially Michael Wedel and Hermann Kappelhoff, who invited me to take up a fellowship which made it possible to write most of this book during the summer and autumn of 2019 in Berlin. Eileen Rositzka, Regina Brückner, Jan- Hendrik Bakels, Michael Ufer, Matthias Grotkopp, Hannes Weeselkämper, Danny Gronmaier, Katharina Störrle, Jasper Stratil, acknowledgements ix Daniel Illger, Zoé Schlepfer, Kasper Aebi and others of the Cinepoetics team created a welcoming atmosphere and organised many conversa- tions about the poetics of film during the bi- weekly film colloquia and other events. Additionally, dialogues with co- fellows David Rodowick, Özgür Çiçek, Christine Lötscher, Anna Steininger and colleagues from King’s College London, Erica Carter, Catherine Wheatley, Victor Fan and Sarah Cooper, added to the inspiring academic spirit. I also wish to thank Christine Reeh for inviting me to the Konrad Wolf Film University of Babelsberg in Potsdam to meet with students; and Milena Gregor and the Arsenal Cinema for hosting a lecture about my research findings, fol- lowed by a screening of Lucille Hadžihalilović’s Evolution. I also want to thank Les Films du Worso for giving permission to use an image from that film on the cover of this book. Furthermore, I am grateful to Gillian Leslie at Edinburgh University Press for her long- standing support and enthusiasm regarding this project, and to Richard Strachan and Rebecca Mackenzie for the production and design process. Thanks also to Michael Katzberg for pointing out the ‘devilish details’ in the text. I also wish to thank Dan Oki and Maja Vrančić for all their support during a short writer’s residency at KURS Art ‘n’ Culture in Split, where part of the book was conceived. At the Media Studies department of the University of Amsterdam I want to thank my colleagues for many years of gratifying teamwork and collaboration, specifically Julia Noordegraaf and Erik Laeven for taking care of many administrative tasks in my absence; and I also wish to welcome all the Media Studies babies born during the baby boom of 2019. At the Amsterdam School for Cultural Analysis I want to acknowl- edge Eloe Kingma and Esther Peeren for co- directing ASCA in the years before my research sabbatical in a wonderful collaborative spirit. I am indebted to Eugenie Brinkema for passionately sharing articles and horror suggestions and Inez van der Scheer for keeping me alert and critical. In addition, much thanks goes to Ansuya Blom and Marleen Gorris for the public conversations about their work. For their suggestions and assistance in finding and accessing films, I want to express my gratitude to Minah Jeongh, Lonnie van Brummelen, Gitta Kruisbrink, Yfke van Berkelaer, Annemiek de Jong (from Distributor Cinemien), Anne van der Pol (from Distributor Cineart), Chris Oostrom and Phil van Tongeren (from Imagine Festival), Mitch Davies (from Fantasia Festival), and Han* and the Final Girls Festival in Berlin.
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