Early physicians who did not understand female anatomy routinely used ‘female hysteria’ as a potent weapon against women to institutionalize them for illnesses they never had. It wasn’t until the 1950s that the American Psychiatric Association rescinded the usage of the term “hysteria” — from hystera, the Greek word for uterus — as a medical diagnosis. But, “crazy,” “neurotic,” “psychopathic” are still acceptable adjectives to describe women who don’t conform to social norms. These perceptions have wormed their way into mainstream media and inspired cinema, especially the horror genre.
The nature of motherhood presents fertile ground of fears for horror to explore. There are countless genre movies that explore the horrors of giving birth, of child-rearing, of maternal sacrifice, and simply how being a mother can affect one’s sanity. Which means that when it comes to celebrating Mother’s Day, there’s no shortage of horror movies to honor the blood, sweat, and tears it takes to be a mom. The most obvious selections focus on evil mothers, protective mothers, or benign moms struggling with their evil kid. But no franchise has managed to explore every corner of motherhood quite like the Alien franchise. From the philosophical to the traditional, from conception to the stresses of raising a child (or monster), to the very definition of what motherhood is, the entire catalog of Alien films has captured the complexities of motherhood in way that’s wholly unique. For this Mother’s Day, we’re paying respects to Ellen Ripley, the Queen Mother, and mothers everywhere by looking back at the maternal core of this series.
The Other transcending oceans and borders is a concept that is commonly explored in fiction, working particularly well when engendered by the monsters of the horror genre. Though The Other exists in so many places, the way the anxieties and perceptions of them are presented in film can vary drastically from region to region. Take Germany’s Nosferatu, for instance, and 1931’s Dracula from the United States. Both films are loose adaptations of the same novel, but the Count is presented as an alien-like deformity in one, and a handsome, mesmerizing character in the other. Because of this, I wanted to travel across the world to Sweden through this week’s film to determine the ways in which presentations of The Other in Let the Right One In differ from what I’m used to in American vampire fiction. The film reflects the general attitudes held by the society in which it was produced and, with so much of its content being undeniably queer, this is especially true in regard to issues of gender and sexuality.
Long is the list of science-fiction mediated texts that deals with social issues, especially race. Vic Morrow’s character was forced to confront his bigotry in Twilight Zone: The Movie (1983) and the shift of social power that was the authority of Black folks as their integrity and compassion was tested for the mercy of whites in one of Ray Bradbury’s short stories in Illustrated Man, first published in 1951. The vast possibilities for what this genre allows is the reason so many of us love it. It keeps stories fresh with its ‘anything goes’ ideology.
Annabelle Wallis (The Mummy) and Nikolaj Coster-Waldau (“Game of Thrones”) have been set to star in director Robin Pront’s The Silencing, alongside Hero Fiennes-Tiffin. Via Deadline, we’ve learned that “Wynonna Earp” star Melanie Scrofano is also on board, along with Zahn McClarnon (Westworld) and Shaun Smyth (Once Upon a Time in Wonderland).