By Bojan Baca
"Malice in Wonderland: The Political subconscious in American Horror movies of the Nineteen Seventies" is a learn of the yank horror movie in the course of a interval of great switch in American society. Discussing ten landmark horror movies made within the Nineteen Seventies – The Brood, sunrise of the lifeless, The Hills Have Eyes, The Exorcist, Invasion of the physique Snatchers, it truly is Alive, Rabid, Shivers, The Omen and The Texas Chainsaw bloodbath – Bojan Baća identifies the content material of the shape of the horror narrative. accordingly, the point of interest of horror experiences is shifted from its basic unit of research, a determine of the monster, towards unresolvable adverse courting among the Order and the opposite. the purpose of this research isn't to give the monster as a revolutionary or reactionary critique of the dominant order, yet as an important and optimistic help for any social order. An interesting mix of social idea, cultural experiences and movie research, "Malice in Wonderland" makes use of theories of Jacques Derrida, Slavoj Žižek and Fredric Jameson with a view to make the most of the concept that horror movies supply house for non-ideological contemplation on ideology.
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Extra info for Malice in Wonderland: The Political Unconscious in American Horror Films of the 1970s
As such, the figure of the monster is not a proper unit of analysis, because it is never constituted within one binary opposition. However, once conceived as a “trace”, the monster can expose antagonistic relationship between these oppositions. It can show how we are constituted through a vast network of binary oppositions which are essentially in the antagonistic relationship. For this reason, this structural antagonism should be a unit of analysis. And this is where the political unconscious is located: 52 | B o j a n B a ć a tolerance for the Other can never be achieved, since it is the hostility toward the Other that gives consistency to our being.
In Žižek‟s terms, a new sinthome has been formed: it forms ideological field and provides it with an identity. And the (diegetic) reality is M a l i c e i n W o n d e r l a n d | 47 being reproduced through ideology. For Žižek, reality is embedded in ideology. Once men start overlooking sinthome, reality is once again “functional”. Desire – as a phenomenon of eternal reproduction of itself – is the engine of practice, and this is precisely where ideology is located. If desire is a relation to a lack, it sets in motion ideology, which endlessly provides objects that can never satisfy desire.
Even baby‟s own family is ashamed of it, and at one point the father distances himself from the child by saying it is not his offspring, not his own flesh and blood, not in any relation to him. If one would take the monster as a unit of analysis, one would end up viewing it in terms of a rigid ideological viewpoint. That is why Clover (1992) sees the infant as the product of failed or unwelcoming family that has considered abortion; Wood (2003:92, 96) views it both as “the product of the tensions within the modern nuclear family” and “the logical product of the capitalist system”; while Maddrey (2004) and Hutchings (2004) identify evil with the institutions in the film: law, family and medicine.