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Children's Horror, PG-13 and the Emergent Millennial Pre-Teen

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Children's Horror, PG-13 and the Emergent Millennial Pre-Teen Children Beware! Children’s horror, PG-13 and the emergent Millennial pre-teen Filipa Antunes A thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies December 2015 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Filipa Antunes “Children beware!” Abstract This thesis is a study of the children’s horror trend of the 1980s and 1990s focused on the transformation of the concepts of childhood and horror. Specifically, it discusses the segmentation of childhood to include the pre-teen demographic, which emerges as a distinct Millennial figure, and the ramifications of this social and cultural shift both on the horror genre and the entertainment industry more broadly, namely through the introduction of the deeply impactful PG-13 rating. The work thus adds to debates on children and horror, examining and questioning both sides: notions of suitability and protection of vulnerable audiences, as well as cultural definitions of the horror genre and the authority behind them. The thesis moreover challenges the reasons behind academic dismissal of these texts, pointing out their centrality to on-going discussions over childhood, particularly the pre-teen demographic, and suggesting a different approach to the PG-13 rating, its origin and its present-day status. Structured as a comprehensive outline of the children’s horror trend with special emphasis on its influential film cycle, the thesis explores the dissonances between definitions of horror in the children’s sphere and the adult’s sphere, and highlights the parallels between the children’s horror trend and Millennial childhood both in period (early 1980s-late 1990s) and progression (initial controversy over the boundaries of childhood, focus on transition and pre-adolescence, and decline), suggesting the children’s horror trend as a hub for period-specific struggles over childhood that were strongly associated with the emergence of the pre-teen as a new Millennial demographic. The thesis therefore brings to light an unjustly forgotten trend and contextualizes it to reveal a tremendous shift in American attitudes toward childhood, the horror genre and the film industry itself. 2 Filipa Antunes “Children beware!” Table of contents Abstract ................................................................................................................................................... 2 Table of contents .................................................................................................................................... 3 Acknowledgements ................................................................................................................................. 5 Introduction ............................................................................................................................................ 7 Children and the problem of horror .......................................................................................... 8 Horror and the problem of children ........................................................................................ 14 Overlooking children’s horror .................................................................................................. 17 Dismissing children’s horror .................................................................................................... 21 Childhood and other life stages; the Millennial pre-teen ........................................................ 26 A map for the road ahead: intervention and other important notes on this work ................. 36 Toward a definition of children’s horror .................................................................... 37 Methodology and structure ........................................................................................ 42 Chapter One Troubled beginnings: the (im)possibility of children’s horror in Disney’s The Watcher in the Woods 48 Two captains sink the ship: horror and anti-horror in The Watcher ....................................... 52 Following the lead: horror, ideology and representations of children .................................... 60 Hints of a changing childhood: new audiences, new banners ................................................. 66 Conclusion ................................................................................................................................ 71 Chapter Two Setting new boundaries: Gremlins and the introduction of PG-13 ...................................................... 75 Horror, violence and family values: Poltergeist; Temple of Doom .......................................... 80 Ratings and the boundaries of childhood ................................................................................ 85 Horror, violence and the desecration of America: Gremlins ................................................... 87 Ratings and the boundaries of horror ..................................................................................... 92 Conclusion ................................................................................................................................ 96 Chapter Three Horror vs. Children: embracing, resisting and adapting to children’s horror in The Gate ................. 100 Children keep out! Rating wars and the denial of children’s horror ..................................... 103 Transitioning attitudes: childhood and moral values ............................................................ 109 Demons or demon-slayers? Representations in between paradigms ................................... 112 Conclusion .............................................................................................................................. 119 3 Filipa Antunes “Children beware!” Chapter Four The end of children’s horror? Re-building generic frontiers in The Nightmare Before Christmas .... 123 A Nightmare for adults: art, innocence and technology ....................................................... 129 A Nightmare for everyone: family over horror ...................................................................... 139 From children’s horror to family horror: The Witches, The Addams Family ......................... 143 Conclusion .............................................................................................................................. 148 Chapter Five The friendly pre-teen: establishing transition, pre-adolescence and family unity in Casper ............. 152 Twelve and transitioning: representing the pre-teen............................................................ 159 Death and puberty: tailoring horror for the young child ....................................................... 163 “My daughter is a teenager!”: tailoring the horror family film for parents .......................... 168 Conclusion .............................................................................................................................. 173 Chapter Six “Children beware… you’re in for a scare!” Goosebumps and the horrors of puberty ....................... 178 In media res: Goosebumps and the children’s horror trend ................................................. 183 Adults keep out!: repositioning children’s horror outside the cinema ................................. 189 Death of the child, birth of the teenager: dissecting “formula” and ideology through the lenses of puberty ................................................................................................................... 193 Conclusion .............................................................................................................................. 200 Conclusion ........................................................................................................................................... 203 Echoes of children’s horror .................................................................................................... 205 The place of children in horror .............................................................................................. 206 The legitimacy of children as horror audiences ..................................................................... 208 Pre-teens and the cinema, an impossible relationship? ........................................................ 211 The Millennial “rebellion” or, the generation who came of age twice ................................. 215 Works Cited ......................................................................................................................................... 219 4 Filipa Antunes “Children beware!” Acknowledgements This thesis has my name on the cover but it exists only because I have been supported, inspired and guided by others who deserve my gratitude. First and foremost, I thank my parents, without whom nothing would be possible. This work is for you and I hope it makes you proud. Very special thanks go to Mark Jancovich, my supervisor. I could not have dreamed a better mentor and still can’t believe my luck. This PhD would not have happened if you hadn’t seen potential where others saw nothing, and it was the certainty of your belief in me than kept me from giving in to frustration and feeding the thesis to the goats when things
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