Author: Jessica Spykers Title: “Coraline: Exploring How Crossing Boundaries and Breaking Taboos Can Result In Strengthened Familial Relationships” Source: Prandium: The Journal of Historical Studies, Vol. 9, No. 1 (Fall, 2020). Published by: The Department of Historical Studies, University of Toronto Mississauga Stable URL: https://jps.library.utoronto.ca/index.php/prandium 1 In “Dread, Taboo, and The Thing,” Stephen Prince (2004) discusses the theories of Mary Douglas and Edmund Leach of how the loss of humanity is represented by the breaking of taboos and the crossing of boundaries.1 In this essay, I apply ideas from Prince’s paper to the 2009 film Coraline. Grounding my paper on the insider versus outsider distinction, I will argue that Coraline Jones’ “inside” is an adult-centered world, whereas the “outside” world is a fantasy world with no rules. I will also examine Coraline’s decision to violate her mother’s rules and the consequences that follow. Through this taboo-breaking, Coraline conveys a two-fold message that crossing boundaries to desired fantasies result in both (a) chaos and disconnection to humanity and (b) a deeper appreciation for (and connection to) family members. To draw this conclusion, the parts of the film that I will focus on are conversations between Coraline and her parents; depictions of Coraline and her explorative tendencies; the differing settings in both “worlds”; and Coraline’s entrapment in the “other” world alongside her beldam mother. Insider versus Outsider: Writing about the film, The Thing, Stephen Prince bases his paper on notions of fear and monsters while introducing a larger discussion on individuals in social spaces and sources of danger. Upon analyzing individuals in different social spaces, Prince discusses the insider and outsider worlds and the notion of taboo through the support of both Mary Douglas and Edmund Leach’s work. To understand how the crossing of a boundary/ breaking of a taboo can result in these two opposing worlds, the insider versus outsider distinction must first be defined. According 1 Jessica Spykers is a graduate from UTM who double majored in History of Religions and Sociology. She originally wrote this paper in Dr. Ken Derry’s Reel Religion course in the Fall 2019 term. She is currently a Teacher Candidate at Brock University pursuing her teaching career in the Primary/Junior division. She wants to give her heartiest thanks to Ken Derry for overseeing this initial project and Professor Petrakos for his assistance in publishing this article. 2 to the ideas introduced in Prince’s work, the “inside” is a system of defined social roles and forms; whereas the “outside” is the absence of all distinction and is formless.2 The connections of rules and chaos with systems of disorder, however, take two forms— through social spaces and physical attributes. With Prince emphasizing the physical attributes of systems (dirt, pollution, etc.,) and only briefly discussing social spaces, this article will analyze Coraline through both systems— human relationships and rule-breaking, along with the differing nature of the worlds’ settings— and connect them. Moreover, The 2009 film Coraline introduces a young girl named Coraline who, due to her parent’s professions, moves to an unfamiliar world where she must meet new friends and start a new life. Unfortunately, for a young girl, a new town that is dark and gloomy, with a scarce amount of kids her age, is not ideal. After being warned by her neighbours, Coraline decides to venture through the hidden door that takes her to an “outside” world where her life is mirrored and everyone has button eyes. As a result of Coraline’s constant crossing over to the other world, she creates conflict with her “other” mother, loses her real parents to the other world, and meets the Three Ghost Children who have been deceived as well. Fearful of the “other” mother, the Three Ghost Children confide in Coraline and tell her how they were spied on through the doll’s eyes — resembling the doll Coraline was anonymously gifted— and were lured with treasures, treats, games, etc., until they agreed to have buttons sewed as eyes resulting in entrapment. With this, Coraline her parents, and the children’s release from the “other” mother and prevention from having her own eyes replaced, lies in her ability to retrieve the Three Ghost Children’s eyes. Following Prince’s theory then, Coraline’s “inside” is an adult-centered world where she is expected to comply with her parent’s rules and what the “bosses” say. For instance, she cannot 2Stephen Prince, “Dread, Taboo, and The Thing: Toward a Social Theory of the Horror Film,” in The Horror Film, ed. Stephen Prince (New Brunswick, NJ: Rutgers University Press, 2004), 124-125. 3 play outdoors because “mud makes a mess,” and she must stop bothering her parents so they can work in peace. Her parents devote their energy toward their careers, leaving Coraline feeling neglected and unwanted. When attempting to make simple conversation with her parents, their responses show clear disinterest. For instance, they say, “Coraline, I don’t have time for you,” and “I’m busy right now.” At one point, Coraline recounts a near-death experience to which her distracted mother responds with “uh-huh… that’s nice”. Consequently, it is Coraline’s feelings of loneliness and neglect from her parents that compel her to transgress through the secret door into the otherworld – her “outside,” the place with no rules. During her exploration of her home, Coraline comes across a hidden door and this sparks her interest. Without her parents’ knowledge, she crosses through this secret passage and discovers her “other” parents. When discussing her adventure with her mother,3 she is told to stop. Although it is clear that her mother is unaware of the reality of Coraline’s journey, she still hides the key to prevent Coraline from ever returning to this so-called “other” mother. So, although it was because of her parent’s instruction to explore that she found the secret door, her mother now imposes a new rule—that she must not continue going to visit her “other” mother. From the start, Coraline is depicted as a young girl who finds joy in the exploration of the natural world around her. At the beginning of the film, Coraline explicitly says, “I do not like being stopped.” This declaration foreshadows her failure to comply with rules as she is determined to complete whichever journey she pursues. While alone at home, Coraline searches for the key to the locked door and disobeys the new rule her mother imposed on her, using the key to enter her fantasy world once more (fig. 1). Through her violation, Coraline breaks a taboo that was put in place by her mother. A taboo is defined as an explicit prohibition governing behaviour that is 3 “Mother” will refer to Coraline’s real mother, whereas the beldam will be expressed as “other” mother. 4 accompanied by a sense of sin if violated.4 So, although the first few entries into her fantasy world do not result in any punishment for Coraline, it is only when she breaks this taboo (her mother’s rules) that chaos begins to unfold. More specifically, it is after breaking this taboo that she becomes trapped, indicating a clear consequence of violating her mother’s rules. Fig. 1: Coraline finding the key her mother hid from her. It is through Coraline’s exploration of her house that she is drawn to the discovery of unknown territories. Accordingly, Coraline’s outside—her fantasy world—contains an absence of all distinctions. This fantasy world that Coraline unveils is one that offers her all that she desires in her own home, which her real mother and father fail to provide her. There are several major differences between the two worlds, including unlimited food, colourful gardens, and her “other” neighbours whose presence Coraline surprisingly enjoys. The most significant difference is that in this otherworld, her “other” parents provide her with unlimited care and affection—something that was very much lacking in her real home. Coraline’s “other” father explicitly says, “mother said you would like it […] she knows you like the back of her hand”; and in fact, Coraline becomes quickly convinced that her mother does not know her as well as her “other” mother does. However, among all differences, the abundance of food is most distinguishable between both worlds (fig. 2). At home, her parents are so preoccupied with work that they are stuck with leftovers and make- 4 Prince, “Dread, Taboo, and The Thing,” 120. 5 shift food; however, in the otherworld, Coraline is not only served a table full of varying foods, but she can also magically wish for certain foods that will suddenly appear. For example, despite all the food surrounding her, Coraline requests a milkshake, and an entire tray full of flavours appears before her eyes (fig. 3). Food brings people together, and it is through the abundance of food that her beldam mother shows her care for Coraline. Overall, this otherworld is considered Coraline’s fantasy because there is a breakdown of authority where she—rather than her parents— is in control. Fig. 2: Coraline’s fridge at home Fig. 3: Coraline choosing her mango milkshake Nature: To further differentiate these two distinct worlds, there is a clear emphasis on their overall natures in the film. The adult-centred world is depicted as dull and gloomy, whereas the fantasy world is full of colour and wonder. Mary Douglas argues that although dirt represents chaos, that chaos is only possible because we have created boundaries.