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Copyright by Sean R. Tiffee 2013 The Dissertation Committee for Sean R. Tiffee Certifies that this is the approved version of the following dissertation: Trauma and the Rhetoric of Horror Films: The Rise of Torture Porn in a Post Nine-Eleven World Committee: ____________________________________ Joshua Gunn, Supervisor ____________________________________ Katherine Arens ____________________________________ Barry Brummett ____________________________________ Richard Cherwitz ____________________________________ Dana Cloud Trauma and the Rhetoric of Horror Films: The Rise of Torture Porn in a Post Nine-Eleven World by Sean R. Tiffee, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2013 Dedication To my family, for always being there. Acknowledgements If I were to list every person who helped me on my journey towards the completion of my Ph.D., this section would be longer than the dissertation itself. Although I want to thank everyone, these limitations require me to note only those whose support was instrumental, endless, and tireless. First and foremost, I want to thank my advisor, Joshua Gunn. Josh’s patience, diligence, and guidance are unmatched and I am truly blessed to be one of his advisees. Mere words are not capable of expressing how much I appreciate his efforts and his meticulous attention to detail pushed me to produce the very best work that I could. He is someone that I am proud to call a mentor and humbled to call a friend. I would also like to thank the other members of my dissertation committee. Barry Brummett’s pitch-perfect humor and piercing insights kept me always-already looking to make sure that nothing superfluous made the final cut and every line had a point. Dana Cloud forced me to continuously look deeper at the mechanisms that underpin our society, from the obvious displays of state power to the more subtle aspects that bleed out in popular culture. Richard Cherwitz reminded me that every artifact should be approached with fresh eyes and that even when you return to the same one time and again, you should always expect to find something new and unexpected. And Katherine Arens’ theoretical guidance was indispensible as I navigated the waters of psychoanalytic theory – I hit a rock or two as I went along, but she made sure I never sank. To my friends and colleagues to whom I owe so much more than I can ever repay – a special thank you to Jeremy Hutchins, Jeremy West, Wayne Kraemer, Jon and Liz Schnautz, Yuri and Michelle Kostun, Roseann Mandziuk, Ann Burnette, and Erin Stage. v I could never have finished this project were it not for the support I received from the Longhorn community in the Communication Studies department. The administrative staff in our department is second to none and nothing short of awe-inspiring. I would like to extend a very special thank you to Susan Corbin, Jennifer Betancourt, Deanna Matthews, Laurie Dreesen, Terry Sawyer, Margaret Surratt, and Aida Gonzalez. I also want to say thank you to all of the friends that I made while I was at UT. Kristyn Meyer, Brandon Wood, Roger Gatchet, Amanda Davis-Gatchet, Matt Morris, Roy Christopher, Adria Battaglia, John McKenzie, Kristin Stimpson, Cathy Setzer Andrews, and everyone else, thank you! I also want to thank the UT Debate Team for everything they gave me while I was associated with the program. Joel Rollins is a spectacular director and even better friend. He gave me support and encouragement that was unmatched. A special thank you to all of the members of the team who would cram into vans for tournaments seemingly every weekend and to all of my fellow assistant coaches who I will never forget: Tiara Na’puti, J.V. Reed, Teddy Albiniak, Kirk Evans, and Ralph Paone, Jr. Lastly, I am eternally grateful for the love and support of my family. Mom, Dad, Matthew, and Nana, I would not be the person I am were it not for you. And to my beautiful and loving partner, Sylvia, and to Alexis and Brianna, you all mean the world to me. vi Trauma and the Rhetoric of Horror Films: The Rise of Torture Porn in a Post Nine-Eleven World Publication No._____________ Sean R. Tiffee, Ph.D. The University of Texas at Austin, 2013 Supervisor: Joshua Gunn The events of September 11, 2001 fundamentally changed the world for many in the United States. It was shocking and horrifying – it was, in a word, traumatic. This trauma took on a new dimension with the release of the horrifying Abu Ghraib “torture photographs” in 2004. Large-scale traumatic events such as September 11 and the Abu Ghraib revelations can impact not only the individual and his or her personal identity, but entire social bodies and its corresponding national identity as well. This study investigates how the American social body psychically dealt with the horror of these national traumas and socially negotiated what it means to “be an American.” Specifically, it examines a disparate group of rhetorical artifacts, from articles in mainstream news reports to popular horror films, and looks for emergent patterns to provide insight into the larger whole. This study draws on a variety of theoretical perspectives and employs a method of close reading and frame genre analysis to organize and understand the complex interplay of forces tuned toward a deeper understanding of the rhetorical dimensions of horror in vii times of social upheaval. It focuses first on the mainstream news organizations reporting of both September 11 and Abu Ghraib to outline the master narrative and counter- narrative that emerged. It then analyzes three sets of films in the popular culture to better understand how the nation attempted to rhetorically constitute an “American Subject” in the wake of a horrifying trauma. The study concludes with an analysis of the different psychical subject positions that may be taken in the rhetorical negotiation of the American Subject and offers an explanation of the rhetorical function of the torture porn horror genre in this time of national trauma. viii Table of Contents Prologue: Finding Evil in Nana’s Closet .................................................................1 Introduction: A Rhetoric of Identity and Horror .....................................................5 The Social Body and American Subject .........................................................9 Looking at Horror Narratives .......................................................................22 Chapter Preview............................................................................................29 Chapter 1................................................................................................................34 The Stories We Tell: Identity, Narrative and Horror.............................................34 Fantasy, Narrative, and the Individual Story ................................................36 Theories of Trauma.......................................................................................46 Trauma in psychoanalysis....................................................................47 Belated trauma and the role of fantasy ................................................52 Reconciling the traumatic experience..................................................56 Julia Kristeva, Horror, and Abjection...........................................................60 Chapter Conclusion.......................................................................................66 Chapter 2................................................................................................................69 The Stories We Hear: Frame Genres and Rhetorical Criticism.............................69 Understanding Genre Studies .......................................................................70 Genre studies in literature ....................................................................71 Genre studies in film............................................................................78 Genre studies in rhetoric ......................................................................83 Understanding the Horror Genre ..................................................................91 The horror film as an evolving genre...................................................93 The horror film in rhetorical studies ..................................................107 Frame Genre Criticism................................................................................116 Chapter Conclusion.....................................................................................124 ix Chapter 3..............................................................................................................125 A Story of Trauma: The Nine-Eleven Narrative and Abu Ghraib.......................125 The Nine-Eleven Master Narrative.............................................................126 Nine-Eleven: The descriptive frame ..................................................127 Nine-Eleven: The attributive frame ...................................................130 Nine-Eleven: The affective frame......................................................135 The Trauma of Abu Ghraib ........................................................................140 Abu Ghraib: The descriptive frame ...................................................143 Abu Ghraib: The attributive frame ....................................................149
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