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Women's Time and Reproductive Anxiety in Contemporary Horror

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Women's Time and Reproductive Anxiety in Contemporary Horror Women’s Time and Reproductive Anxiety in Contemporary Horror Films A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Qian Zhang August 2018 © 2018 Qian Zhang. All Rights Reserved. 2 This thesis titled Women’s Time and Reproductive Anxiety in Contemporary Horror Films by QIAN ZHANG has been approved for the Film Division and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Studies Matthew R. Shaftel Dean, College of Fine Arts 3 Abstract QIAN ZHANG, M.A., August 2018, Film Studies Women’s Time and Reproductive Anxiety in Contemporary Horror Films Director of Thesis: Ofer Eliaz In the contemporary capitalist society, the demand for social reproduction generates a “timeline” for women, which specifies what a woman should so at a certain stage of her life. This timeline further causes what I call a “temporal anxiety” specifically for women. This thesis explores how contemporary horror films portray the temporal anxiety for women as sites of social reproduction under capitalism. The thesis mainly focuses on three contemporary horror films: Australian filmmaker Jennifer Kent’s The Babadook (2014), French filmmaker Julia Ducournau’s Raw (2016), and American filmmaker Robert Eggers’ The Witch (2015). I use The Babadook to propose an understanding of the nature of the temporal anxiety and use Raw to explain the scope of the temporal anxiety. I further argue that The Witch suggests a way to end the temporal anxiety—by being non-reproductive witches, women fail their reproductive role in the capitalist society and thereby escape from the “timeline” that is imposed upon them. 4 Dedication I dedicate this thesis to Ofer Eliaz, who is always there for my adventure in film studies. 5 Acknowledgments This project would not be completed without the supports and encouragements from many people. I would first like to thank my thesis advisor, Ofer Eliaz. He has been a great advisor, an intelligent reader, and a wonderful friend. Ofer is always available whenever I need help. He taught me how to be a good scholar both by giving me concrete suggestions and by doing excellent work in his own research. In doing so, Ofer has become my role model: an intelligent and sharp researcher and a patient and efficient teacher. I am also hugely grateful to Louis-Georges Schwartz. This project grew from my first independent study with Louis in the Fall of 2016. The first book we read together, Silvia Federici’s Caliban and the Witch, and the ways we explored the book have had a heavy influence on this project. Louis has been an invaluable resource, an incredible scholar, and a genuine comrade. I also have received enormous help from Erin Shevaugn Schlumpf. She read substantial portions of the thesis and made detailed suggestions for revision. Erin provided many essays and books for me to develop my interpretations of the three films in this project. Joan Hawkins is my lovely mentor, who lead me into film studies and treated me like her own student, despite the fact that I was merely auditing her classes. Her classes and her own works on horror and avant-garde films will continue to be a long-lasting and endless inspiration for me. I will forever fondly remember our conversation at Soma 6 which helped me finalize the film list for this project. She also provided precious feedback in the early stages of this project. I wish her the best! In addition to the individuals I mentioned above, I also want to thank my director of Film Division, Steven Ross, who helped me complete my thesis with funding support. This project would also not have been successful without the help of my colleagues and friends. Stephanie MacDonell provided me a lot of relevant essays and information for my early research. Kate Keeney patiently read two chapters of this project and gave me incredibly detailed suggestion. Erin Drake and Kate Austin also offered me comments and feedbacks for some chapters of the thesis. Julia Staben has been a great supporter for me in completing this project. I own a great deal to all. I’d also like to show my gratitude to Indiana University Cinema. It is the womb of my passion and inspiration for film studies. It had been like my home for more than four years and is just incomparable. I will be forever jealous of people who live in Bloomington. In addition, I want to thank graduate writing center at OU. Lastly, I thank Hao Hong, my husband, best friend, soulmate, and the worst “victim” of my anxiety. I am so appreciative of the many ways that he showed his support for me through this time. The amount of appreciation I have for the loving acts of kindness such as repeatedly, endlessly cooking for me in Jeanne Dielman’s way, pouring me a stout or making me a Manhattan when I was burned out, and discussing Deleuze’s works and films with me without reading or watching them cannot be overstated. I also want to add that, for many years, Hao is the ONLY person to encourage me to pursue my dream in film studies, even during the time when I doubted myself. 7 Table of Contents Page Abstract ........................................................................................................................... 3 Dedication ....................................................................................................................... 4 Acknowledgments ........................................................................................................... 5 Table of Contents ............................................................................................................ 7 List of Figures ................................................................................................................. 9 Chapter 1: Introduction .................................................................................................. 10 Temporalizing the Feminine and the Reproductive Body ................................... 12 Time & Women’s Time? ................................................................................... 17 Time Mode: Reproductive Time and Non-reproductive Time ............................ 23 Contemporary Horror, Ongoing Temporal Anxiety, and Women’s Impossible Temporal Position .............................................................................................. 25 Chapter Summary .............................................................................................. 27 Chapter 2: Experiencing Women’s Emptiness of Time--Feminine Repetition from Jeanne Dielman to The Babadook ............................................................................................. 30 Introduction ....................................................................................................... 30 Non-temporal Interpretations of The Babadook .................................................. 32 Women’s Time, Affective Experience, Repetition, and Akerman’s Art Film Jeanne Dielman ................................................................................................. 35 An Affective and Embodied Experience of Women’s Domestic Temporality in The Babadook .................................................................................................... 44 Conclusion ......................................................................................................... 55 Chapter 3: Repeating the Past and the Repetitive Future–The Transgenerational Repetition in Julia Ducournau’s Raw ............................................................................. 58 Introduction ....................................................................................................... 58 Mother in Old Enclosed Spaces ......................................................................... 61 Mother, A Living and Haunting Ghost ............................................................... 67 Transgenerational Repetition and Undoing Future ............................................. 73 Conclusion ......................................................................................................... 76 Chapter 4: The Witch and the End of the Colonial Time ................................................ 78 Introduction ....................................................................................................... 78 Two Times: Reproductive Time and Non-reproductive Time ............................. 83 8 The Reproductive Body and Impossible Temporality ......................................... 86 Aural Haunting, Women and the Past ................................................................ 90 Individuality and Non-individuality, the Witches Body and Non-reproductive Time .................................................................................................................. 97 Conclusion ....................................................................................................... 110 Chapter 5: Conclusion ................................................................................................. 112 Bibliography ............................................................................................................... 116 Filmography ................................................................................................................ 127 9 List of Figures Page Figure 1. From the film Modern Times (Chaplin, 1936) ................................................. 40 Figure 2. Jeanne Dielman is doing dishes in the kitchen. ..............................................
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