![]() The box-office success of the restored and revised version of the original (2000) spawned two prequels (20). ![]() While The Exorcist was produced in the context of a series of other films of similar content, it was not until after 2000 that this subgenre became one of the most popular daughter genres of the US horror film. We will look into a selection of the most successful US horror films of the past decade, 1 which are summarized under the umbrella term Possession film (Clover), of which The Exorcist (Warner Bros., 1973) is generally seen as the highly popular originator. The aim of this investigation is to contextualize the figure of the hysteric-a historically well-studied object in arts and sciences-as a public performer whose hysterical “episodes” are clearly defined and understood in the realms of performance. ![]() In this investigation, I will take a closer look at a specific expression of the hysteric’s performance in the present: the hysteric’s politically charged and highly popular performance in mainstream US horror films and its discussion around pressing issues of disability and mental health. Hysteria has a high currency in current public discussions and simultaneously finds its way into countless cultural manifestations-as we are able to witness in the colorful and diverse discussions in this collection. Although the “death of hysteria” has been proclaimed on numerous occasions, we nevertheless seem to be living in hysterical times. HYSTERICAL CURE Performing Disability in the Possession Film Johanna Braun ![]()
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