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Home , Ariel Schulman, FeardotCom, Gary Sherman (director), Night of the Comet, Paranormal Activity, Paranormal Activity 2

Notes

Introduction

1. For simplicity’s sake, I will often employ this “we.” I will always try to make the context clear. I am generally referring to those who inhabit postindustrial capitalist society, often more specifically to the American mainstream, as this is the culture represented in the films and the audience toward which they are targeted. 2. See Jameson’s Archaeologies of the Future: The Desire Called Utopia and other Science-Fictions (2005). 3. The line is taken from the REO Speedwagon song “Roll with the Changes,” part of the soundtrack of The Cabin in the Woods. 4. See Deleuze’s Cinema 1 and Cinema 2 (1986, 1989), Stiegler’s Technics and Time 3 (2010), and Hansen’s Embodying Technesis (2000). 5. This is the title of a recent work by Jeffrey Sconce,Haunted Media: Elec- tronic Presence from Telegraphy to Television (2000), in which he traces the links between the introduction of media technologies and belief in the supernatural and the occult. 6. See Jean Baudrillard’s Simulacra and Simulation (1994). 7. From Robert Louis Stevenson’s 1888 essay “Pulvis et Umbra,” in which he argues that modern scientific thought turns the world into “impon- derable figures of abstraction” (300). No solace is to be gained from the senses, either. Stevenson finds hope only in the sense of duty, a quality he attributes to all that exists.

Chapter 1

1. The first three films of the series grossed between $160 and $170 million worldwide in box office sales, 4 over $95 million (Boxofficemojo. com). 2. Notably, Kendall Phillips’s Projected Fears (2006), Matt Hills’s Pleasures of Horror (2005), and Ian Conrich’s Horror Zone (2009). 3. At the same time, recent analyses of gender construction in the Scream films, notably Valerie Wee’s 2006 article “Resurrecting and Updating the Teen Slasher” and Kathleen Rowe Karlyn’s 2003 article “Scream, Popular Culture, and Feminism’s Third Wave: ‘I’m Not My Mother,’” suggest that 154 NOTES

their departures from the conventions of the horror genre are not ulti- mately conservative, as Sarah Trencansky’s slightly earlier work (“Final Girls and Terrible Youth: Transgression in Slasher Horror”) sug- gests, but rather progressive, offering new avenues for exploring third- wave feminism through popular culture. 4. Though some would say the first stalker film was Powell’s Peeping Tom (1960). 5. See Derrida’s “Plato’s Pharmacy” in The Derrida Reader: Between the Blinds. 6. In all of the films of the series, Sidney occupies the position Carol Clover refers to as the “Final Girl”: “She is the girl scout, the bookworm, the mechanic. Unlike her girlfriends . . . she is not sexually active . . . watchful to the point of paranoia . . . Above all, she is intelligent and resourceful in extreme situations” (86). While Sidney breaks the cardinal rule of Final Girldom at the end of the first film and loses her virginity, she possesses all of the other essential traits of this figure. 7. See Jean Baudrillard’s Simulacra and Simulation, in which he defines the hyperreal as “the generation by models of a real without origin or real- ity” (1). In its ubiquity and in our reliance on it to bring the events of the world to us, media representation becomes not just a substitute for reality but “more real than nature” (28). 8. Such films will be the topic of chapter five. The subgenre includes films like (1982), the series (1984, 1991, 2003, 2009), Repo Men (2010), and Splice (2009). 9. The 2012 film adaptation of Suzanne Collins’s 2008 novel of the same name.

Chapter 2

1. This phrase was first coined by British philosopher Gilbert Ryle in his 1949 book The Concept of Mind, in response to the Cartesian mind-body dualism. It is now often used in reference to various forms of artificial intelligence. 2. For a full treatment of the body-mind relation in , see Fred Botting’s Sex, Machines, and Navels: Fiction, Fantasy, and History in the Future Present. 3. With the exception of Feardotcom, which borrows heavily from The Ring, all of these films are remakes of Japanese films of the same name. Despite their similarities, the significance of the films for each culture is very different. For important discussions of the transcultural nature of these films, see, for example, Jay McRoy’s Nightmare (Rodopi, 2008) and Kristen Lacefield’sThe Scary Screen (Ashgate, 2010). 4. Though this techno-virus does cause some physical symptoms, it is not as explicitly linked to the notion of “body horror” as, for example, NOTES 155

Cronenberg’s (1983), in which a videotape itself is liter- ally lodged in a man’s body. Because of the increasingly airy and largely invisible nature of communications technology, its intrusions into the body are less obvious and more insidious. 5. I should note here that Feardotcom did not enjoy the same level of pop- ularity or critical acclaim that The Ring did. It did not do well at the box office and was largely considered a failure by film critics. However, placed in context with these other films, Feardotcom, focusing as it does on the live stream and on the link between media and serial violence, adds important dimensions to the current discussion. 6. This gives expression to an attitude in early modern writings on theater in England, which has been well documented by Ellen MacKay in Per- secution, Plague, and Fire: Fugitive Histories of the Stage in Early Modern England. As MacKay argues, the greatest fear expressed by early mod- ern opponents of theater was a situation in which “everyone was felled by a rampant inability to perceive the difference between false acts and real harm” (18). 7. Examples of this include the figure of Buffalo Bill in Harris’s Silence of the Lambs, later made into a film by Jonathan Demme, John Doe in David Fincher’s Seven, and the many serial killers portrayed in popular crime dramas like CBS’s Criminal Minds and CSI. 8. In chapters 3–5, I address the issue of gender in regard to media technology. 9. See Mark Seltzer’s Serial Killers: Death and Life in America’s Wound Cul- ture (Routledge, 1998). 10. Though Jeannie’s mother is American, Jeannie’s ghost speaks with a German accent. One can interpret this discrepancy in a couple of ways (leaving aside the possibility that it was an oversight on the part of the filmmakers). Either Jeannie is not her mother’s child, indicating perhaps that she is image-born, or Jeannie is playing a role on the website, or both. 11. In a scene reminiscent of the one in the Garden of Eden in which Eve gives Adam the apple, Rachel steps out onto her balcony to wait for her son’s father to finish viewing the fatal video. She looks across to others in their apartments, and what is highlighted is their radical compart- mentalization, each alone in his or her own cubby, and each watching television or talking on the phone. 12. Due to the disease’s viral nature, Terry is much more effective in track- ing down this killer than Mike, whose true goal is to find Alistair. Mike and Alistair form two sides of a dialectical pairing. Serial killer theorists, most notably Richard Tithecott, discuss the dialectical relation between the serial killer and the detective: the way in which, in order to appre- hend the killer, the detective must in a sense dialectically ally himself with the killer, become the killer’s rational “other” and thus contain the 156 NOTES

killer within himself. In Feardotcom, just as the serial killer has been superseded, so has the type of detective suited to him. 13. See Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction.”

Chapter 3

1. According to Box Office Mojo, the film grossed almost $250 million worldwide. 2. Nothing That Is: Millennial Cinema and the Blair Witch Controversies. Eds. Sarah S. Higley and Jeffrey A. Weinstock. , MI: Wayne State University Press, 2004. 3. Retroscripting essentially means that the script is left undetermined until filming begins, which gives the impression that actors are react- ing spontaneously to the events. Further, the characters’ names are the same as the actors’ names, so it is as if they are playing themselves. 4. From Roscoe and Hight’s Faking It: Mock-Documentary and the Subver- sion of Factuality (Manchester, 2001). 5. For a full account of critics’ reactions to the film, see Higley and Wein- stock’s introduction to Nothing That Is. 6. See Carol Clover’s “Her Body, Himself: Gender in the ” in The Dread of Difference (ed. Barry Keith Grant). 7. Stephanie Moss contends that “Heather and her camera are mother and infant,” but just as all other power relations are called into question or reversed in the film, so too is this one (206). Heather becomes the “off- spring” of her own camera. 8. Both 2 and 3 broke opening day records for horror films, the former appearing before 40 million viewers, the latter 52 mil- lion (Boxofficemojo.com). 9. See Linda Williams’s “When the Woman Looks” in The Dread of Difference. 10. As Marion notes in The Crossing of the Visible, perspective is linked with intentionality, a concept in Husserlian phenomenology that has to do with the way the world/object presents itself to the subject/conscious- ness as something to be perceived, something for perception. Perspec- tive is the way the gaze creates/perceives depth in two-dimensional representation, ultimately the way meaning is made of what would oth- erwise just be colors on canvas. Both of these concepts assume a world/ object oriented toward/around the perceiving human subject, a view that Paranormal Activity radically disrupts. 11. Interestingly, this reading does not work for . I would argue that this is because, whether he meant it or not, the (dif- ferent) director too perfectly rendered the 1980s home, which had not yet attained the hyperreality of the twenty-first-century home. In NOTES 157

Paranormal 3, there is plenty for the viewer to see, and the experience of viewing the film is much more in line with a classic ghost story. The presence of the camera is not as threatening precisely because the abili- ties of the 1980s camera were not what they are now. The camera was not more powerful than human viewing; the camera or surveillance was not yet ubiquitous. 12. See Foucault’s The History of Sexuality: An Introduction, Volume 1. 13. While researching demon possession, Alex finds that there are three stages to the process. The third stage involves the sacrifice of an “invio- late,” or virgin. 14. There is a dog inP2 , but the dog partakes of the same inactivity as the humans, and he does become one of the demon’s victims. 15. When the film begins, writing on the screen suggests that the camera was later found and became a classified document in a government file named “.” This would mean that the military had ultimately been successful in destroying the monster.

Chapter 4

1. See Kimball’s The Infanticidal Logic of Evolution and Culture. 2. Additionally, in the Japanese version, the mother’s death scene takes place in the elevator. In her final scene, she embraces the dead ghost- child as water fills the elevator, and her biological daughter watches. 3. Notably, Donna Haraway, Gilles Deleuze and Felix Guatarri, Cary Wolfe, and Katherine Hayles, among many others.

Chapter 5

1. To which Scott’s Prometheus was originally supposed to be something of a prequel. 2. Writer and director Natali makes this perfectly clear, as he names his two protagonists Clive and Elsa, after Colin Clive and Elsa Lanchester, the costars of James Whale’s 1935 film The Bride of Frankenstein. 3. Mary’s Prometheus is much more pessimistic than that of her husband, Percy, who, in his Prometheus Bound, makes his hero the symbol of rebellion against tyranny and oppression. 4. A motif that also appears in Koji Suzuki’s novel Ring, in which Sadako (Samara) is hermaphroditic, but which does not make it into the Amer- ican film The Ring. 5. The Ring likewise explores this religious motif. In one significant scene, Rachel goes out on the terrace while Noah watches Samara’s tape. She looks disturbed as her gaze scans the rows of apartment windows across from her, each with one isolated individual watching TV, talking on the phone, and 158 NOTES

so forth. Interestingly, this whole scene is overtly linked with original sin, as Noah grabs an apple from the kitchen table after having watched the video, which Rachel gave to him. Combined with their biblical names, it is hard for the audience to miss these allusions to a patriarchal tradition in which the feminine represents or is in collusion with a corrupting presence that moves the human away from its nature and origin. 6. The former exemplified in the works of Jean-Jacques Rousseau; the lat- ter, in those of Immanuel Kant. 7. This is an accession Kant is forced to make if he is to maintain the ratio- nal purity of the moral imperative. 8. A phrase that Reese borrows from Karl Marx’s Declaration of the Rights of Man and the Citizen. 9. Earlier in the film, Clive and Elsa’s first hybrid animal creations, Fred and Ginger, turn on each other and rip each other apart once Ginger metamorphoses into a male. 10. In the deleted scenes made available on the DVD version of the film, the one scene between Meredith and her father is extended, and we see a slightly different dynamic emerge, one in which it is not so much that Vickers has been passed over by her father but rather that she despises him for succumbing to old age. She states, “You used to have so much grace. I respected you, looked up to you. You’re nothing but a scared old man.” 11. While there are many portrayals of the Prometheus myth, I have relied here primarily on the two most read: Hesiod’s and Aeschylus’s. 12. It is actually a moon, LV-223. 13. One of the writers of the screenplay, Damon Lindelof, offers this pos- sible interpretation in an interview with SlashGear.

Conclusion

1. See Baudrillard’s Simulacra and Simulation, Žižek’s Welcome to the Des- ert of the Real, Lyotard’s The Inhuman, and Hansen’s Embodying Tech- nesis, respectively. 2. For a thorough analysis of the relationship between meat and machine in cyberpunk, see Fred Botting’s Sex, Machines, and Navels: Fiction, Fantasy, and History in the Future Present. Bibliography

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Filmography

AI: Artificial Intelligence. Dir. . Burbank: Warner Brothers, 2001. Alien. Dir. Ridley Scott. Los Angeles: 20th Century Fox, 1979. Aliens. Dir. . Los Angeles: 20th Century Fox, 1986. Alien 3. Dir. David Fincher. Los Angeles: 20th Century Fox, 1992. Alien Resurrection. Dir. Jean-Pierre Jeunet. Los Angeles: 20th Century Fox, 1997. Armageddon. Dir. Michael Bay. Burbank: Touchstone Pictures, 1998. Avatar. Dir. James Cameron. Los Angeles: 20th Century Fox, 2009. Blade Runner. Dir. Ridley Scott. Burbank: Warner Bros., 1982. Blair Witch Project, The. Dirs. Daniel Myrick and Eduardo Sánchez. Santa Monica: Artisan Entertainment, 1999. Cabin in the Woods, The. Dir. Drew Goddard. Santa Monica: Films, 2011. Christine. Dir. . Los Angeles: Columbia Pictures, 1983. Cloverfield. Dir. Matt Reeves. Los Angeles: , 2008. Contagion. Dir. Steven Soderbergh. Burbank, Warner Bros., 2011. Criminal Minds. The Mark Gordon Company (2005–2013). CBS. CSI: Crime Scene Investigation. Jerry Bruckheimer Television (2006–2013). CBS. Dark City. Dr. Alex Proyas. New York: New Line Cinema, 1998. Dark Water. Dir. Walter Salles. Burbank: Touchstone Pictures, 2005. Day After Tomorrow, The. Dir. Roland Emmerich. Los Angeles: 20th Century Fox, 2004. Deliverance. Dir. John Boorman. Burbank: Warner Bros., 1972. . Dir. . Culver City: TriStar, 2009. Feardotcom. Dir. William Malone. Franchise Pictures, 2002. Forgotten, The. Dir. Joseph Ruben. Los Angeles: Columbia Pictures, 2004. BIBLIOGRAPHY 165

Fright Night. Dir. Tom Holland. Los Angeles: Columbia Pictures, 1985. Grudge, The. Dir. Takashi Shimizu. Los Angeles: Columbia Pictures, 2004. Hills Have Eyes, The. Dir. . Vanguard, 1977. Hunger Games, The. Dir. Gary Ross. Santa Monica: Lionsgate Films, 2012. I Know What You Did Last Summer. Dir. Jim Gillespie. Los Angeles: Colum- bia Pictures, 1997. I’ll Always Know What You Did Last Summer. Dir. Sylvain White. Culver City: Destination Films, 2006. In the Mouth of Madness. Dir. John Carpenter. New York: New Line Cinema, 1995. Island, The. Dir. Michael Bay. Universal City: Dreamworks, 2005. I Still Know What You Did Last Summer. Dir. Danny Cannon. Los Angeles: Columbia Pictures, 1998. Last House on the Left, The. Dir. Wes Craven. Hallmark Releasing Corps., 1972. Matrix Trilogy, The. Dirs. The Wachowski Brothers. Burbank: Warner Bros., 1999–2003. Maximum Overdrive. Dir. Stephen King. Wilmington, NC: DeLaurentiis Entertainment Group, 1986. New Nightmare. Dir. Wes Craven. New York: New Line Cinema, 1994. Night of the Comet. Dir. Thom Eberhardt. Atlantic Releasing Corporation, 1984. Omen, The. Dir. Richard Donner. Los Angeles: 20th Century Fox, 1976. One Missed Call. Dir. Eric Valette. Burbank: Warner Bros., 2008. Others, The. Dir. Alejandro Amenábar. New York: , 2001. Outbreak. Dir. Wolfgang Petersen. Burbank: Warner Bros., 1995. Paranormal Activity. Dir. . Los Angeles: Paramount Pictures, 2007. . Dir. Ted Williams. Los Angeles: Paramount Pictures, 2010. Paranormal Activity 3. Dir. . Los Angeles: Paramount Pic- tures, 2011. . Dir. Ariel Schulman. Los Angeles: Paramount Pic- tures, 2012. Peeping Tom. Dir. Michael Powell. Anglo-Amalgamated Film Distributors, 1960. . Dir. Tobe Hooper. Burbank: Warner Bros., 1982. Poltergeist II: The Other Side. Dir. Brian Gibson. Beverly Hills: Metro-Gold- wyn-Mayer, 1986. Poltergeist III. Dir. . Beverly Hills: Metro-Goldwyn-Mayer, 1988. Prometheus. Dir. Ridley Scott. Los Angeles: 20th Century Fox, 2012. Psycho. Dir. Alfred Hitchcock. Los Angeles: Paramount Pictures, 1960. Pulse. Dir. Jim Sonzero. Beverly Hills: The Weinstein Company, 2006. Repo Men. Dir. Miguel Sapochnik. Universal City: , 2010. Ring, The. Dir. Gore Verbinski. Universal City: Dreamworks, 2002. 166 BIBLIOGRAPHY

Robocop. Dir. . Los Angeles: Orion, 1987. Rocky Horror Picture Show. Dir. Jim Sharman. Los Angeles: 20th Century Fox, 1975. Scream. Dir. Wes Craven. New York: Dimension Films, 1996. Scream 2. Dir. Wes Craven. New York: Dimension Films, 1997. Scream 3. Dir. Wes Craven. New York: Dimension Films, 2000. . Dir. Wes Craven. New York: Dimension Films, 2011. Seven. Dir. David Fincher. New York: New Line Cinema, 1995. Silence of the Lambs, The. Dir. Jonathan Demme. Los Angeles, Orion, 1991. Sixth Sense, The. Dir. M. Night Shyamalan. Hollywood: Hollywood Pictures, 1999. Splice. Dir. Vincenzo Natali. Burbank, Warner Bros., 2010. Terminator. Dir. James Cameron. Los Angeles: Orion, 1984. T2. Dir. James Cameron. Culver City: TriStar, 1991. Terminator 3: Rise of the Machines. Dir. Jonathan Mostow. Burbank, Warner Bros., 2003. Terminator Salvation. Dir. McG. Burbank: Warner Bros., 2009. Texas Chainsaw Massacre. Dir. Tobe Hooper. Bryanston Distribution Com- pany, 1974. Total Recall. Dir. Paul Verhoeven. Culver City: TriStar, 1990. 2012. Dir. Roland Emmerich. Los Angeles: Columbia Pictures, 2009. Urban Legend. Dir. Jamie Blanks. Culver City: TriStar, 1998. Urban Legends: Final Cut. Dir. John Ottman. Los Angeles: Columbia Pic- tures, 2000. Videodrome. Dir. . Universal City: Universal Studios, 1983. Index

Agamben, Giorgio, 145–48, 150 Blade Runner, 113, 127, 129, 134 AI: Artificial Intelligence,31–32, 87 Blair Witch Project, The Alien series, 26, 112–13, 129, 133, camera and, 6, 38, 55–56 139 controversy surrounding, 57 American Horror Film, 3 creation of, 56–62 Apocalyptic Dread, 3 criticism of, 56–58 art family and, 85 experience and, 1, 151 gaze and, 58–60 media and, 4 gender and, 57–60, 62 memory and, 5 importance to horror genre, 12, Nietzsche and, 82 56 reproduction and, 53 marketing of, 57 social reality and, 74 paranormality of image and, 62–67, 70–72 Baudrillard, Jean, 7–8, 19, 21, 38, popularity of, 56–57 67–68, 75, 79, 101, 103, 144, technology and, 84 149 body Benjamin, Walter, 102–5, 107 corporation and, 127 birth dismemberment, 46–47, 115 Blair Witch Project and, 66 divinity and, 44–45 Cloverfieldand, 79 fear and, 107–8, 143 Dark Water and, 91–93, 98 gender and, 64, 89, 135 humanity and, 112 humanity and, 143–44 image and, 66, 69, 82, 98, 147–49 image and, 44–46, 145 memory and, 107 infancy and, 146–48, 151 Paranormal Activity series and, memory and, 99, 103 63, 66 mind and, 32–33, 149 Prometheus myth and, 115 possession of, 64, 77 rebirth, 52–53, 88–89, 91, 145, Prometheus and, 130, 133, 147 135–36, 140–41 Splice and, 115, 120, 122, 134 sexuality and, 64, 89 technology and, 88–89, 108, 112, technology and, 101–4, 146–47, 145 149 Birth of Tragedy, The(Nietzsche), violence and, 40 82, 138 Botting, Fred, 154n2 168 INDEX

Briefel, Aviva, 3, 8 gender and, 58 Brophy, Philip, 11 memory and, 96 paranormality of image and, 62 Cabin in the Woods technology and, 85 artifice and, 150 Conrich, Ian, 3 blood and, 90–91 consumer, 5, 8, 21, 24, 28–29, 114, corporation and, 23–24 124, 126, 128 end of humanity and, 21–30 corporations as metahorror, 1, 6, 12 in Cabin in the Woods, 22–28 power in, 26–27 humanity and, 113 simulation and, 21–30 in Prometheus, 113, 129, 131–32 technology and, 33, 50, 150 in Splice, 114–15, 120–21, 124–29 camera Craven, Wes, 1, 6, 12, 14–16, 31, Blair Witch Project and, 6, 38, 56, 85 55–56 Creed, Barbara, 58, 64–65 Cloverfield and, 7, 55–56, 76–84 Cronenberg, David, 31, 155n4 Paranormal Activity and, 1, 6, Crossing of the Visible, The 55, 73 (Marion), 4, 44, 156n10 simulation and, 67–68 viewer and, 38, 55–56 deconstruction, 7, 11–21, 98 see also gaze; image Deleuze, Gilles, 5, 104, 108, 150, Cameron, James, 31, 113 152 Carpenter, John, 12, 16, 31 Demme, Jonathan, 12, 56, 155n7 children Derrida, Jacques, 16, 99 Blair Witch Project and, 57 divine Dark Water and, 91–98 blood and, 91 demonic/ghostly, 42, 89, 91, 146 creation and, 131, 138 Final Girl and, 50 family and, 7–8 Forgotten and, 98–100 gaze and, 149 mother-child relationship, 85, horror and, 27 87–91 iconography and, 44 Paranormal Activity series and, image and, 4–5 63–64, 68–70, 72 invisible, 44, 50 Prometheus and, 129, 131–35 knowledge and, 119 Repo Men and, 127 nature and, 112 Splice and, 112, 117–25, 128–29 reality and, 145 technology and, 52, 85, 112 Ring and, 50, 52 Christine, 31 Splice and, 119, 129 cinema verité, 6, 55, 77 technology and, 138–29, 142 Clover, Carol, 50, 58, 65 truth, 4 Cloverfield violence and, 44–45 9/11 and, 73–76 camera and, 7, 55–56, 76–84 Egginton, William, 37–38 gaze and, 56, 73, 76–78, 149 Eller, Claudia, 15 INDEX 169

Embodying Technesis (Hansen), 102 gender Erlebnis (Benjamin), 102, 105, 107 Blair Witch Project and, 57–60, 62 family, 3–4, 7, 63, 85–87, 112–16, body and, 64, 89, 135 132, 134, 138 Cloverfield and, 58 Fassbender, Michael, 130 Forgotten and, 87–88 fathers, 7, 42–43, 61, 68–69, 85, inhuman and, 127 87, 90, 92, 100, 112, 119–21, monsters and, 50–51, 58–59, 123–24, 126–27, 130, 132, 64–65, 73, 87, 112, 115 134–35, 139, 142 power and, 7–8, 86–88, 134, 142 Feardotcom, 6, 12, 31–36, 38–41, reproduction and, 8, 77 43, 45, 48–53, 89–91, 142, 148, Scream and, 6, 153n3 154–56 Splice and, 115–18, 134 feminism, 58 ghosts, 18, 31, 33–37, 39, 42–43, feminine, 61, 65, 70, 77–78, 87–88, 47–48, 51, 57, 67, 72, 88–89, 108, 135 91–97, 103 Final Girls, 16, 19, 24–26, 35–36, Gibson, William, 32 50, 52, 65, 154n6 Goddard, Drew, 1, 6, 12 Forgotten, The Gramophone, Film, Typewriter alienation in, 98–107 (Kittler), 34 birth/pregnancy and, 7, 90, 148 Greven, David, 2, 86 family and, 4, 85, 87–88 Ground of the Image, The(Nancy), gender and, 87–88 4, 90 memory and, 7, 91, 98–100 Ground Zero (Virilio), 75, 119 paternity and, 85, 87–88 technology and, 101, 104–7 Halloween, 15 Frankenstein (Shelley), 114–15, Hansen, Mark, 5, 102–5, 107, 145, 120–21, 124–25, 129, 136, 147, 150 138–39, 141, 144 Hantke, Steffen, 3 Friday the 13th, 13 Haraway, Donna, 122 Frost, Laura, 74, 77 “haunted media,” 6, 33 Future of the Image, Haunted Media (Sconce), 33, 87 The (Rancière), 4 Heidegger, Martin, 80 Hemsworth, Chris, 21 gaze Higley, Sarah, 57–58, 62, 66–67 Blair Witch and, 58–60 Hills Have Eyes, The,85 Cloverfield and, 56, 73, 76–78, Hills, Matt, 13, 15 149 Hooper, Tobe, 31, 85, 88 divine and, 149 Horror After 9/11,3 invisible, 44–49, 51, 53, 55–56, Horror Zone, 3 58–59, 61 humanity monsters and, 55–56, 58–62, 68 body and, 143–44 power and, 58–66, 78, 82, 149 monsters and, 1–2, 52, 144–46, viewer and, 44–48 149 170 INDEX humanity–continued Forgotten, Theand, 105 mothers and, 7–8 future and, 111, 144 power and, 136–38 gender and, 127 Prometheus and, 7, 111–13, Hansen on, 5 135–39 human and, 102–3, 105–7, 109, science fiction and, 1, 3 111–14, 144 Splice and, 111–13, 121–22, 124–27 infancy and, 146–47 women and, 127 memory and, 7 see also inhuman; nonhuman Paranormal Activity and, 63 Hunger Games, The, 23, 28–29 Prometheus and, 129–30, 132–35, hyperreal, 8, 17–18, 21, 38–40, 144, 139, 141 156n11 reproduction and, 111–14 Ring, Theand, 89, 96 iconography, 44–52 Splice and, 114, 123–25, 127–28 ideal, 73, 80, 112, 127–30, 137, 149 technology and, 32 idol, 38, 44–45, 47, 49, 51 Time Machine and, 144 image see also human; nonhuman birth and, 66, 69, 82, 98, 147–49 Inhuman, The(Lyotard), 149 bleeding, 35–39, 41 Internet, 2, 18–20, 34–36, 41, 45, body and, 44–46, 145 49, 51–52, 57, 121 Cloverfield and, 62 intimacy, 32–35, 39, 41, 48–49, 53, divine and, 4–5 69, 94, 104, 147 memory and, 80, 91 mothers and, 61, 69 Jameson, Fredric, 3, 83, 151 Paranormal Activity and, 55, Jesus Christ, 44–45 62–71, 84, 148–49 paranormality of, 62–67, 70–72 Karlyn, Kathleen Rowe, 153n3 power and, 7, 19, 43, 47–48, Kimball, A. Samual 55–56, 68, 70–74, 84, 148 King, Homay, 74, 77 reproduction and, 1, 4, 6, 83, 91 King, Stephen, 31 Ring, Theand, 32–33, 36 Kittler, Friedrich, 34 simulation and, 4, 101–2 viewer and, 35, 37–39, 42, 44–47 Lacan, Jacques, 56 imagination, 3–4, 8, 76, 80–83, 144, Lewis, John, 87 150 Lindelof, Damon, 141 In the Mouth of Madness, 12, 16, Lowensohn, Elina, 96 31–32 Lowenstein, Adam, 3 infancy, 4, 145–48, 151 Lyotard, Jean-François, 146–47, 149 infection, 6, 35–37, 42, 45, 47–48, 52, 76–77 Malone, William, 6, 12, 31 inhuman Marion, Jean-Luc, 4–5, 38, 40, Cabin in the Woods and, 29 44–45, 50–51, 156n10 children as, 89 Matrix series, 31–32, 112 family and, 89, 123–24 Maximum Overdrive, 31 INDEX 171 mechanosphere, 5, 102–3, 107, 144 113–15, 119–20, 123–25, 128, memory 136, 144, 149–50 art and, 5 montage, 4–5, 104, 150–51 Cloverfieldand, 80 Moss, Stephanie, 58, 61, 156n7 collective, 5 Mostow, Jonathan, 31, 113 Forgotten and, 7, 91, 98–107 mothers image and, 80, 91 Blair Witch Project and, 66 inhuman and, 7 Dark Water and, 91–98 internal/external, 91, 93–94 family and, 7–8, 68, 85, 87–88, 90 location of, 99–100 Forgotten and, 98–100 monster and, 80, 82–83 humanity and, 7–8 reality and, 91 identity and, 147 reproduction and, 85 image and, 61, 69 technology and, 151 killers and, 13 metahorror Prometheus and, 134–35, 139 genre construction and Ring, Theand, 36, 41–43 deconstruction, 12–21 Splice and, 114, 116–17, 119–21, overview, 11–12 123, 126, 128 reality and, 1, 6 Munch, Edvard, 14 see also Cabin in the Woods; Myrick, Daniel, 12, 55 Scream series Myth, mythic Miller, Sam J., 3 Miller, T.J., 76 Nancy, Jean-Luc, 4–5, 90 Mind at the End of Its Tether Natali, Vincenzo, 1, 7, 111, 113, (Wells), 2 115–16, 119, 157 monsters nature, 53, 102–4, 113, 119, 145, Cabin in the Woods and, 26–30 147–49 Cloverfieldand, 73–84, 96 Neuromancer (Gibson), 32 Dark Water and, 96, 98 New Nightmare, 12, 16, 31–32 gaze and, 55–56, 58–62, 68 Nietzche, Friedrich, 68, 82, 138, gender and, 50–51, 58–59, 64–65, 140, 144 73, 87, 112, 115 9/11, 3, 73–75, 83 humanity and, 1–2, 52, 144–46, Nixon, Nicola, 88 149 nonhuman, 31, 36, 48, 58, 100, Prometheus and, 130, 139, 142 112–13, 122, 129, 134 Prometheus myth and, 112, 115 see also human; inhuman Splice and, 115, 118, 120, 122–26, North, Daniel, 56, 77 128 symbolism of, 2, 9, 27–29 One Missed Call, 32–35, 85, 87, 89 technology and, 52, 68, 120 Outer Limits, 33, 42, 87–88 unseen, 38, 50–51 monstrous/monstrosity, 1, 3, 28–29, painting, 14, 44, 50–51, 56 50–51, 55–56, 61–67, 70, 73, Paranormal Activity series 77–78, 82–84, 86–87, 98, box office, 156n8 172 INDEX

Paranormal Activity–continued humanity and, 7, 111–13, 135–39 camera and, 1, 6, 55, 73 inhuman and, 129–30, 132–34 family and, 4 Lawrence of Arabia and, 151 paranormality of image and, 55, patriarchy and, 136 62–71, 84, 148–49 as postmodern myth, 129–42 paternal authority and, 85 reality and, 151–52 perspective and, 156n10 reproduction and, 112, 134–35, women and, 58, 73, 77, 98 142 patriarchy, 3–4, 7, 26, 58, 61–62, 69, sexuality and, 134–35 86–90, 112–15, 123, 125–127, technology and, 1, 113, 144, 135–36, 142 151–52 perspective, 29, 44, 58, 61–62, Psycho, 13 65–66, 76, 136, 149 Pulse, 32–34 see also camera; gaze Phillips, Kendall, 13, 86 Rancière, Jacques, 4–5 Plato, 91, 99, 101, 106 reality Poltergeist series, 31, 85, 88 divine and, 145 posthuman, 102, 113 memory and, 91 see also human; inhuman metahorror and, 1, 6 postmodernism, 2, 11–13, 18, 20, Prometheus and, 151–52 40, 44, 53, 67, 82, 101, 103, 147 simulation and, 8, 12, 23, 27, Prometheus and, 129–42 33, 72 Splice and, 114–29 viewer and, 15–17, 33, 37–38, poststructuralism, 2 108–9 power reality TV, 21, 39 corporations and, 26–27, 113–15, Repo Men, 113, 126–27 125–26, 128 reproduction gaze and, 58–66, 78, 82, 149 art and, 53 gender and, 7–8, 86–88, 134, camera and, 67–68 142 children and, 8 humanity and, 136–38 family and, 4, 8, 86, 89 identity and, 14, 23, 58, 87, 138 gender and, 8, 77 image and, 7, 19, 43, 47–48, icons and, 44 55–56, 68, 70–74, 84, 148 image and, 1, 4, 6, 83, 91 metahorror and, 6, 12, 22 infection and, 80 reproduction and, 39 inhuman and, 111–14 society and, 1–2 memory and, 85 technology and, 34, 50, 68, 87, Prometheus and, 112, 134–35, 147 142 visible and, 47 Splice and, 112, 114–29, 134–35, Prometheus 142 capitalism and, 132 technology and, 93, 96, 102, 106, creation in, 130–31, 139–40 112 family and, 4, 113, 132–34 video, 39 INDEX 173

Ring, The “master narrative” and, 22 bleeding images and, 35–39, 41 as metahorror, 1, 11–12 Dark Water and, 94–95, 97 simulation and, 22, 24, 29 family and, 4, 85, 87–91 technology and, 33, 50 Feardotcom and, 154n3, 155n5 Seltzer, Mark, 40 film vs. novel, 157n4 serial killers, 15–16, 35, 39–40, humanity and, 111, 128, 142, 147 45–46, 48, 57, 60–61, 90 iconography and, 45, 47–53 Sharrett, Christopher, 90 image and, 32–33, 36 Shelley, Mary, 114, 124, 138 metahorror and, 12 Shocking Representation, 3 religion and, 119, 157n5 Silence of the Lambs, 12, 56, technology and, 1, 6, 31–39 156n7 time and, 35 simulation transcultural nature of, 154n3 Cabin in the Woods and, 21, 23, violence and, 128, 148 27 Ruben, Joseph, 7, 85 camera and, 67–68 Forgotten, Theand, 105–6 Sánchez, Eduardo, 12, 55 image and, 4, 101–2 Saw series, 90 metahorror and, 6 Sawyer, Diane, 18 reality and, 8, 12, 23, 27, 33, 72 Schopp, Andrew, 14, 62, 66 Scream and, 6, 18–21 Schwarzenegger, Arnold, 32, 113 simulacra and, 67 science-fiction technology and, 12, 52 alienation and, 98–99 slasher films, 13, 22, 47, 56, 64 body and, 149 snuff films, 38 evil corporations and, 22, 113 Sonzero, Jim, 32 humanity and, 1, 3 Spielberg, Steven, 31 horror, 111, 116 Splice see also Prometheus; Splice capitalism and, 125–27, 132 Sconce, Jeffrey, 33, 39, 87–88 death and, 122–23 Scott, A. O., 27 family and, 4, 7, 111–12, 115–17, Scott, Dougray, 94 120, 123–25, 132, 134 Scott, Ridley, 1, 7, 111, 113, 129, Frankenstein and, 114 133–34, 139, 157 gender and, 115–18, 134 Scream of Nature paintings, 14 humanity and, 111–13, 121–22, Scream series 124–27 box office, 153n1 morality and, 119 Cabin in the Woods and, 22, 24, patriarchy and, 7, 113 29 as postmodern Prometheus, gender and, 6, 153n3 114–29 genre construction and Prometheus and, 131 deconstruction in, 12–21 religion and, 119 image/reality in, 38 reproduction and, 112, 114–29, importance to horror genre, 56 134–35, 142 174 INDEX

Splice–continued videotapes, 34, 36–37, 41–43, 45, sexuality and, 118 48, 89, 99, 119 sublime and, 150 Videodrome, 31–32, 155n4 technology and, 1, 112–13 viewer Stiegler, Bernard, 5, 150 birth and, 147–48 Blair Witch Project and, 56–62 techno-horror, 31–32 camera and, 38, 55–56 technology Cloverfield and, 77–83 birth and, 88–89, 108, 112, 145 Feardotcom and, 37–42, 48–49 Blair Witch and, 84 gaze and, 44–48 body and, 101–4, 146–47, 149 images and, 35, 37–39, 42, Cabin in the Woods and, 33, 50, 44–47 150 infection and, 6, 38 children and, 52, 85, 112 metahorror and, 16–17, 26, 29, Cloverfield and, 85 33 divine and, 138–29, 142 monstrous and, 55–56, 158 Forgotten and, 101, 104–7 Paranormal Activity and, 62–69 Prometheus and, 1, 113, 144, reality and, 15–17, 33, 37–38, 151–52 108–9 Ring and, 1, 6, 31–39 Ring, Theand, 43, 46–51 Scream and, 33, 50 Splice and, 118, 122–23, 128 Splice and, 1, 112–13 technology and, 1, 35, 37–39, 84, technological archives, 7, 98–99, 89, 104 101, 106, 151 virtual and, 71 technological production, 8, Virilio, Paul, 75, 119 31–32, 39 virtual, 2, 22, 27, 32–33, 40–41, 46, telephone, 33, 101 48–49, 52, 68, 70–71, 100–4, television, 18, 21, 23, 33, 37, 39, 151 46, 75 virus, 34–38, 49–50, 52, 154n4 Telotte, J.P., 57 Terminator series, 31–32, 87, Walker, Joseph S., 57–58, 61 112–13 Weaver, Sigourney, 26 Texas Chainsaw Massacre, The, 85 Wee, Valerie, 15–16 Thompson, Kirsten Moana, 3, 86 Weinstock, Jeffrey, 57, 62, 66 Tietchen, Todd, 12, 14–15, 22 Wells, H.G., 2, 29, 143 Time Machine, The(Wells), 29 Westfahl, Gary, 89 Tomlinson, Niles, 111 Whedon, Joss, 24, 28 torture, 35, 38–39, 41, 45–47, 90 will Trencansky, Sarah, 154n3 free will, 21–22, 26, 29, 127, Twilight Zone, 33, 87 143 illusory will, 8 Valette, Eric, 32 Williams, Linda, 1, 58, 64 VCRs, 89 Williams, Ted, 1, 55 Verbinsky, Gore, 1, 6, 12, 31 Williams, Tony, 86 INDEX 175 women as objects, 58, 62 becoming and, 108 Paranormal Activity and, 64, birth and, 147 72–73, 98 Cabin in the Woods and, 26 patriarchy and, 134 Cloverfieldand, 62, 73, 98 Ring, Theand, 49 Dark Water and, 98 technology and, 107–8 family and, 7–8, 134 television and, 88 Feardotcom and, 36, 39, 45–46 violence and, 40, 45 horror films and, 7–8, 58 womb, 8, 89, 95, 98, 112, humanity and, 127 120–24, 126, 135, 137, 139, image and, 36, 49, 62, 73, 149 147–48 mythological imagery and, 119, 138, 141 Žižek, Slavoj, 75–6, 144