AMY M. GREEN University of Nevada, Las Vegas “MOTHER IS
AMY M. GREEN University of Nevada, Las Vegas “MOTHER IS GOD IN THE EYES OF A CHILD:” MARIOLOGY, REVELATION, AND MOTHERS IN SILENT HILL INTRODUCTION s a mainstream, video game-based horror offering, the film Silent Hill (Christoph Gans, 2006) surprises by straying from a safe and Astraightforward narrative. Instead of offering the requisite gory showdowns with the monstrous denizens of the Silent Hill franchise, although such elements certainly do exist, screenwriter Roger Avary offers a complex study of women through a lens of Mariology, the theological study of the Virgin Mary, and the women of the book of Revelation. This focus on hyperdulia, “the ecclesiastical term for the special veneration given to the Virgin Mary,”1 lends symbolic weight especially to the female characters who anchor the film. Further still, the film explores the dichotomy of Mary, Mother of Jesus, and Mary Magdalene. These two women, arguably the two closest to Jesus, offer a further insight of the dichotomies of mother and whore, and of the forgiver and the penitent. The resulting narrative provides several distinct categories of mothering, and the specific ties such forms have to the veneration of the Virgin Mary. The first of these categories has to do with adoptive mothers who, thought they lack a biological connection to their children, feel no less love toward them, and evokes a larger sense of maternal love akin to that the Virgin Mary is most known for, especially within the Catholic church, a deep love for humankind. The second concerns biological motherhood. In relation to the film, this is explored through a mother who betrays her child by giving that daughter over to members of her cult who she surely must suspect will do her harm, then waiting until too late to intervene on her behalf.
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