Gothic Features in the 1984 and 2010 Versions of a Nightmare on Elm Street
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DOI: http://dx.doi.org/10.5007/2175-8026.2019v72n1p199 “IT HURTS ’CAUSE YOU’RE IN MY WORLD NOW, BITCH”: GOTHIC FEATURES IN THE 1984 AND 2010 VERSIONS OF A NIGHTMARE ON ELM STREET Claudio Vescia Zanini1* Universidade Federal do Rio Grande do Sul, Porto Alegre, Rio Grande do Sul, Brasil* Abstract his article discusses the 1984 slasher ilm A Nightmare on Elm Street and its 2010 remake emphasizing the presence of recurrent tropes both in Gothic iction and slasher ilm such as transgression, excess, disrupted family structures, the monster, the haunting return of the past, and the terrible place. A literature review for slasher ilm theory precedes a detailed analysis of the symbolic and thematic connections between the opening and closing sequences in each ilm. he conclusion highlights the remake’s resigniication of the original movie’s Gothic legacy by updating its supernatural monster into an earthly threat and by endowing its heroine with the strength and proactivity necessary for the inal confrontation with the monster. Keywords: A Nightmare on Elm Street; Horror cinema; Slashers; Gothic iction. * Professor of Literatures in English at the Federal University of Rio Grande do Sul (UFRGS). Founding member of the research group Estudos do Gótico (CNPq). His research interests include Gothic studies, horror cinema and the interfaces between iction and psychoanalysis. His e-mail address is [email protected]. ORCID: 0000-0003-3688-324X. Esta obra tem licença Creative Commons 200 Claudio Vescia Zanini, “It hurts ’cause you’re in my world now, bitch”:... Popular ilms, then, respond to interpretation as at once the personal dreams of their makers and the collective dreams of their audiences – the fusion made possible by the shared structures of a common ideology. Robin Wood in An Introduction to the American Horror Film Film audiences from the late 1970s-early 1980s witnessed a remarkable level of explicit violence due to the emergence of the slasher, a subset within horror cinema characterized by the presence of a psychotic killer responsible for multiple murders whose face is invariably covered, leaving victims and audience members alike in suspense regarding the murderer’s identity and motivation. Attempts to identify the predecessors of the slasher have pointed to Alfred Hitchcock’s Psycho (Clover 23, Groom 135), Michael Powell’s Peeping Tom (Carrera-Garrido 242), Bob Clark’s Black Christmas and Tobe Hooper’s he Texas Chainsaw Massacre (Christensen 29). Despite the diferent views, scholars identify John Carpenter’s Halloween (1978) as the irst exemplary of the genre, inasmuch as this is the irst movie whose plot presents a mysterious serial killer who slays a group of teenagers, leaving behind one character with whom he has a supposedly deinitive confrontation. his type of character became known as the inal girl, a term coined by Carol J. Clover in Men, Women and Chain Saws: Gender in the Modern Horror Film, a 1992 seminal work for horror cinema studies, particularly for slashers and rape-revenge ilms. he extensive list of movies that follow the slasher convention either to the letter or with variations includes Prom Night (1980), Terror Train (1980), Happy Birthday to Me (1981), he Burning (1981), My Bloody Valentine (1980), Hell Night (1981), Sleepaway Camp (1983), he Slumber Party Massacre (1982), he House on Sorority Row (1983) and April Fool’s Day (1986). Nonetheless, the consolidation of the genre from the mid-1980s onwards occurred due to the rise of Halloween, Friday the 13th and A Nightmare on Elm Street, franchises that form the ‘Holy Trinity of the 1980s slasher’ (Carrera-Garrido 243). Despite the formula’s exhaustion, the slasher gained momentum in the 1990s and 2000s due to new franchises such as Scream (4 movies), I Know What You Did Last Summer (3 movies), Final Destination (5), Hatchet (4) and Wrong Turn (6). Remakes and reboots have also played an important role in the perpetuation of the genre, as the releases of Black Christmas (2006), Friday the 13th (2009), Halloween (2007, 2018), My Bloody Valentine (2009), Prom Night (2008) and he Texas Chainsaw Massacre (2003) evidence, corroborating the notion that slasher ilm remains an attractive and proitable genre in the American movie industry. Slashers have inspired interdisciplinary scholarship over the past four decades, including a few studies that draw on Gothic theoretical and critical perspectives. he Gothic and the slasher share some crucial features, insofar as both have been dismissed as supericial, formulaic narratives that underscore visual and metaphorical darkness oten approached from a psychoanalytical perspective. he link is further corroborated by the slashers’ exploitation of visually sensational aspects of the Gothic, such as seclusion, isolation, inexplicable violence and (predominantly female) sexual anxieties. Ilha do Desterro v. 72, nº 1, p. 199-211, Florianópolis, jan/abr 2019 201 Many authors who have focused on slashers from a Gothic perspective have done so through A Nightmare on Elm Street (Wes Craven, 1984), the irst ilm in a franchise that has yielded seven movies, an anthology television series titled Freddy’s Nightmares (1988-1990), a crossover with the Friday the 13th universe (Freddy vs Jason, directed by Ronny Yu in 2003), and a remake directed by Samuel Bayer in 2010, in addition to fan-made movies and apparitions in video games (Hutchings 233-4). A Nightmare on Elm Street was an innovation in the slasher pantheon by adding an even more supernatural twist to the conventional plot structure: previous slasher killers such as Michael Myers and Jason Voorhees are lesh-and-blood threats in their diegetic worlds, whereas Freddy Krueger, the monstrous villain from A Nightmare on Elm Street, strikes in potentially lethal dreams. hus, when placed alongside its siblings, A Nightmare on Elm Street stands out as a slasher franchise with unique Gothic qualities. Two works that have exploited the Gothic features in Craven’s ilm are Kendall R. Phillips’ ‘Craven’s Gothic Form: Nightmares, Screams, and Monsters’, part of a 2012 study on the oeuvres of Craven, George Romero and John Carpenter, and David Kingsley’s 2016 article ‘Elm Street’s Gothic Roots: Unearthing Incest in Wes Craven’s 1984 Nightmare’. Even though both authors see Freddy’s saga as a quintessentially Gothic narrative, they emphasize diferent points. Whereas Phillips stresses the most obvious Gothic tropes in the 1984 Nightmare and its 1985 sequel, such as the return of a past crime and the dangerous intersection of the world of day and the world of night, Kingsley relies on a psychoanalytical approach to defend the hypothesis that Nancy hompson, Nightmare’s inal girl, and her father, Lieutenant Donald hompson, nurture a mutual incestuous desire initiated in Nancy’s childhood that the rise of Freddy Krueger materializes in the present. his article intends to further the analysis of Gothic aspects in A Nightmare on Elm Street by comparing the 1984 original and its 2010 remake towards a fuller understanding of the Gothic and its resigniication in slasher ilms. In order to do so, the reading presented here points out similarities and diferences between the two ilms regarding their plots and visual, highlighting features, such as transgression, the presence of supernatural and natural forces, excesses of the imagination, religious and human evil, mental disintegration, the conlicting binaries dream versus reality and insanity versus reason, and the presence of the return of the past, the monstrous character and the locus horribilis, three elements that constitute the main convention in Gothic narratives when coordinated to produce fear and its variants as aesthetic efects (França 118). Methodological procedures include three steps: irstly, an analysis of the symbols and themes present in both opening sequences; secondly, how the inal dream in each version comes full cycle with what the initial scenes suggest; inally, the treatment each movie gives to Freddy Krueger’s background, seeing that in the irst movie he is a novelty whereas in the remake he holds the status of a familiar pop icon. Vera Dika’s pioneer analysis of the slasher identiies narrative elements recurrent in ilms released between 1978 and 1981: the depersonalization of the killer due to his hidden face (the serial killer’s predominant maleness is pivotal 202 Claudio Vescia Zanini, “It hurts ’cause you’re in my world now, bitch”:... for Dika and Clover alike), the suggestion of his presence through shadows, dark clothes and focalizations that barely reveal his body, and the adoption of the I-camera, simultaneously preventing us from seeing the killer and allowing us to see the world as he does. he sexual tension underpinning the typical slasher plot is also notable, and it involves a heroine who is not only “elevated from the rest of the young community because she can see and use violence, but also [because] she is less extensively held as the sexual object of the killer’s gaze” (Dika 91). he loss of power of traditional authority igures such as parents, teachers, psychiatrists and policemen is also paramount, and so is the link between the heroine and the killer, who are always part of the same community. Finally, Dika divides the slasher into two parts, the irst presenting a past event in which the killer is driven to madness or is seen as already mad because of an extreme traumatic experience, and the second taking place in the present and portraying the killer’s return and pursuit for revenge. While this scenario its perfectly the plots of Prom Night, Halloween, My Bloody Valentine, Friday the 13th and Happy Birthday to Me (although the killers in the two latter ilms are women), the 1984 A Nightmare on Elm Street perverts some of these elements, a fact James Kendrick relies on to describe the movie as an “interstitial text” between the slasher and demonic possession (cf Kingsley 145).