Introduction - Springer978-1-137-48132...Notes 151 Douglas draws heavily on the theories of Sándor...

Notes

Introduction

1. For a discussion of horror’s place within the catalogue of “body genres,” see Linda William’s “Film Bodies: Gender, Genre, and Excess,” in Film Theory and Criticism, 5th ed., ed. Leo Braudy and Marshall Cohen (Oxford: Oxford Univer-sity Press, 1999), 701–16.

2. Sigmund Freud, A Child Is Being Beaten XVII, 2nd ed. (London: Hogarth Press,II1955).

3. James Kincaid, Erotic Innocence: The Culture of Child Molesting (Durham, NC:gDuke University Press, 1998), 67.

4. See Neil Sinyard, Children in the Movies (New York: St.s Martin’s Press, 1992),and William Paul, Laughing Screaming: Modern Hollywood Horror and Comedy(New York: Columbia University Press, 1994).

5. Eve Kosofsky Sedgwick, “Paranoid Reading and Reparative Reading; or, You’re SoParanoid You Probably Think This Is about You,” in Novel Gazing: Queer Readings in Fiction (Berkeley: University of California Press, 1987). As a fairly overdeter-mined term, it is important to delineate Sedgwick’s use of the term “paranoid” from other perspectives in critical theory. For Sedgwick, the “paranoid” positiondescribes a certain mind-set or approach to discourse or textual analysis. It has“faith in exposure” (17), meaning that paranoid reading sees the act of revelationas a political end in and of itself. As she notes, “Paranoia, for all its vaunted suspi-cion, acts as though its work would be accomplished if only it could finally, thistime, somehow get its story truly known” (17). Given the queer theory approach of this work, I want to differentiate Sedgwick’s terminology from its use as “queerparanoia,” which is generally used to discuss a frenzied homophobic reaction togays and lesbians rather than an attempt to uncover said homophobia. (In cases where I wish to discuss this formation, I’ll likely use the term gay/queer panicinstead.) Additionally, Sedgwick’s paranoid reading is different from the histori-cally grounded usage of Richard A. Hofstadter’s “The Paranoid Style in American Politics,” which examined the conspiratorial logic of Cold War paranoia as it reca-pitulated a pervasive binary logic in American politics.

6. Paul Ricoeur, Freud and Philosophy: An Essay on Interpretation, trans. Denis Sav-age (New Haven, CT: Yale University Press, 1970).

7. Sedgwick, “Paranoid Reading,” 2.8. Elizabeth Cowie, “Fantasia,” in Representing the Woman: Feminism and Psychoanalysis,

ed. Barbara Creed (Minneapolis: University of Minnesota Press, 1997), 123–65.

150 �� Notes

9. Eve Kosofsky Sedgwick, “Tales of the Avunculate: Queer Tutelage in The Impor-tance of Being Earnest,” in Tendencies (Durham, NC: Duke University Press,s1994), 52–73.

10. Andrew Tudor, Monsters and Mad Scientists: A Cultural History of the Horror Movie (Oxford: Basil Blackwell, 1989), 63.e

11. Robin Wood, “An Introduction to the American Horror Film,” in Movies and Methods, vol. 2, ed. Bill Nichols (Berkeley: University of California Press, 1985),195–220. As Wood notes, however, repression/oppression of children is notable in its excess: “When we have worked our way through all the other liberationmovements, we may discover that children have been the most oppressed section of the population” (200).

12. Ibid., 200.13. William Paul uses the term “revolting body” in his book Laughing Screaming:

Hollywood Comedy and Horror to refer to the body of Regan McNeil in r The Exor-cist as a site of both revulsion and revolt. I’m choosing to extend his usage to the tentire body of unruly/unruled children that this work invokes.

14. Kathryn Bond Stockton, “Growing Sideways, or Versions of the Queer Child: The Ghost, the Homosexual, the Freudian, the Innocent, and the Interval of Animal,” in Curiouser: On the Queerness of Children, ed. Steven Bruhm and Nata-sha Hurley (Minneapolis: University of Minnesota Press, 2004), 281.

15. Henry Jenkins, “Introduction: Childhood Innocence and Other ModernMyths,” in The Children’s Culture Reader, ed. Jenkins (New York: New York Uni-versity Press, 1998), 1.

16. Carol Clover, Men, Women, and Chainsaws: Gender in the Modern Horror Film(Princeton, NJ: Princeton University Press, 1992), 70–85.

Chapter 1

1. Jenkins, “Introduction,” 1–2.2. Phillipe Aries, Centuries of Childhood: A Social History of Family Life, trans. Rob-

ert Baldick (New York: Random House, 1962), 72.3. Kincaid, Erotic Innocence, 15.4. Ellen Pifer, Demon or Doll: Images of the Child in Contemporary Writing and Cul-ll

ture (Charlottesville: University Press of Virginia, 2000), 46.e5. Qtd. in Patricia Holland, Picturing Childhood: The Myth of the Child in Popular

Imagery (London: I.y B. Taurus, 2004), 71.6. Jenkins, “Introduction,” 15.7. Kincaid, Erotic Innocence, 68.8. Jacqueline Rose, The Case of Peter Pan, or the Impossibility of Children’s Fiction

(Philadelphia: University of Pennsylvania Press, 1993), 113–14.9. Sabine Bussing, Aliens in the Home: The Child in Horror Fiction (Westport, CT:

Greenwood, 1987), 2.10. Kincaid, Erotic Innocence, 57.11. Bussing, xiv.12. Ann Douglas, “The Dream of the Wise Child: Freud’s ‘Family Romance’ Revis-

ited in Contemporary Narratives of Horror,” Prospects 9 (1984): 293–s 348.

Notes � 151

Douglas draws heavily on the theories of Sándor Ferenczi, a contemporary (andsometimes adversary) of Sigmund Freud. For my work, his notion of the “wise child” and “the unwanted child” will be useful sources for later analysis.

13. Douglas, 302.14. Kevin Heffernan, Ghouls, Gimmicks, and Gold: Horror Films and the American

Movie Business, 1953–1968 (Durham, NC: Duke University Press, 2004), 184.815. Vivian Sobchack, “Bringing It All Back Home: Family Economy and Generic

Exchange,” in Dread of Difference: Gender and the Horror Film, ed. Barry KeithGrant (Austin: University of Texas Press, 1996), 147.

16. Noel Carroll, The Philosophy of Horror: Or, Paradoxes of the Heart (New York: tRoutledge, 1990), 206.

17. See Matt Hills, The Pleasures of Horror (London: Continuum, 2005).r18. Carroll, 34.19. Barbara Creed, “Baby Bitches from Hell: Monstrous Little Women in Film”

(paper presented at the Scary Women Symposium, UCLA Film and Television Archive Research and Study Center, Berkeley, 1994), http://www.cinemaww .ucla.edu/women/creed/creed1.html.

20. Ibid., 3.21. Paul, 262.22. Ibid., 269.23. Ibid., 419.24. Doty, Making Things Perfectly Queer, 3.25. Judith Mayne, Cinema and Spectatorship (London: Routledge, 1993), 97.26. Harry Benshoff, Monsters in the Closet: Homosexuality and the Horror Film (Man-

chester: Manchester University Press, 1997), 4.27. Judith Butler, Bodies That Matter: On the Discursive Limits of “Sex” (New York: ”

Routledge, 1993), 4.28. Benshoff, 12.29. See Elizabeth Ellsworth, “Illicit Pleasures: Feminist Spectators and Personal Best,”tt

in Issues in Feminist Film Criticism (Bloomington: Indiana University Press, 1990), 183–96, and Alexander Doty, Making Things Perfectly Queer (Minneapor -lis: University of Minnesota Press, 1993).

30. Holland, 71.31. Richard Dyer, Culture of Queers (London: Routledge, 2004).s32. Rose, 60.33. Kevin Ohi, “Narrating the Child’s Queerness in What Maisie Knew,” in

Curiouser: On the Queerness of Children, ed. Steven Bruhm and Natasha Hur-ley (Minneapolis: University of Minnesota Press, 2004), 82. Ohi’s use of theword “disidentification” recalls Jose Estes Munoz’s use of the term to describea form of identification in which the subject does not “lose her/himself ” in thechosen object but rather identifies through commonalities and social inequities.Brett Farmer has used this notion in Spectacular Passions: Cinema, Fantasy, Gay Male Spectatorships (Durham, NC: Duke University Press, 2000) to theorize gay smale identifications with the female star in cinema. Likewise, I want to suggest, like Ohi, that queer spectators have a “murderous disidentification” with the

152 �� Notes

revolting child and that this identification is not an imposed infantilization but rather an acknowledgement of commonalties.

34. Paul Kelleher, “How to Do Things with Perversion: Psychoanalysis and the ‘Child in Danger,’” in Curiouser: On the Queerness of Children, ed. Steven Bruhm and Natasha Hurley (Minneapolis: University of Minnesota Press, 2004), 152.

35. Stockton, “Growing Sideways,” 289.36. Leo Bersani, Homos (Cambridge: Harvard University Press, 1995), 32.s37. Ellen Showalter, “Introduction,” in The Bad Seed, by William March (New York: dd

HarperCollins, 1997), vi.38. Michel Foucault, The History of Sexuality: An Introduction, Volume One (New e

York: Vintage, 1990), 103.39. Karen Sánchez-Eppler, Dependent States: The Child’s Part in Nineteenth-Century

American Culture (Chicago: University of Chicago Press, 2005), xvii.e40. Michael Cobb, “Queer Theory and Its Children,” Criticism 47.1 (winter 2005):

119–30.41. Stockton, “Growing Sideways,” 288.42. See Lauren Berlant, The Queen of America Goes to Washington City: Essays on

Sex and Citizenship (Durham, NC: Duke University Press, 1997) and “Live Sex Acts (Parental Advisory: Explicit Material),” in Curiouser: On the Queerness of Children, ed. Steven Bruhm and Natasha Hurley (Minneapolis: University of Minnesota Press, 2004), 57–80.

43. Kelleher, 159.44. Lee Edelman, No Future: Queer Theory and the Death Drive (Durham, NC: Duke e

University Press, 2004). Edelman chooses to use the capitalized term “the Child” to refer to the concept of “reproductive futurism” and the avatar of its political power in order to distinguish it from actual children or children’s bodies.

45. Ibid., 2.46. Ibid., 29.47. Ibid., 21.48. Ellis Hanson, “Knowing Children: Desire and Interpretation in The Exorcist,” intt

Curiouser: On the Queerness of Children, ed. Steven Bruhm and Natasha Hurley (Minneapolis: University of Minnesota Press, 2004), 110.

49. Sánchez-Eppler, xxiv.50. Leerom Medovoi, Rebels: Youth and the Cold War Origins of Identity (Durham,y

NC: Duke University Press, 2005), 3.51. Edelman, 60.

Chapter 2

1. John Reid, The Best Little Boy in the World (New York: Putnam, 1973), 5.d2. Ibid., 3.3. Ibid., 2.4. Alan Downs, The Velvet Rage: Overcoming the Pain of Growing up Gay in a

Straight Man’s World (Cambridge: Da Capo Press, 2006), 30.d5. Patty McCormack, along with Nancy Kelly and a few other cast members,

was imported directly from the stage version of The Bad Seed. Indeed, the film

Notes � 153

retained much of the play’s proscenium style and staging, as well as what many critics at the time deemed a “theatrical” style of acting.

6. For an exploration of the mise-en-scène of desire as a theoretical model, seeCowie, 147–61.

7. Jack Babuscio, “The Cinema of Camp (aka Camp and the Gay Sensibility),” in Camp: Queer Aesthetics and the Performing Subject: A Reader, ed. Fabio Cleto(Ann Arbor: University of Michigan Press, 2002), 121.

8. W. E. B. Du Bois, The Souls of Black Folk (New York: Dover, 1994), 2.k9. Joan Riviere, “Womanliness as a Masquerade,” The International Journal of

Psycho-Analysis- 10 (1952): 303–s 13.10. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York:y

Routledge, 1990).11. Dyer, Culture of Queers, 59.12. Susan Sontag, “Notes on Camp,” in Camp: Queer Aesthetics and the Performing

Subject: A Reader, ed. Fabio Cleto (Ann Arbor: University of Michigan Press, 2002), 15.

13. Michael Bronski, Culture Clash: The Making of Gay Sensibility (Boston: SouthyEnd Press, 1984), 15.

14. See Roy S. Simmonds, The Two Worlds of William March (Birmingham: Univerh -sity of Alabama Press, 1984), and Ellen Showalter, “Introduction,” in The Bad Seed, by William March (New York: HarperCollins, 1997), v–dd xiii.

15. William March, The Bad Seed (New York: HarperCollins, 1997), 39.d16. Maria Montessori, The Secret of Childhood (New York: First Ballantine Books, d

1972), 82.17. This is a telling change from March’s novel: in the film version, Rhoda’s father

changes from being a businessman to being part of the military-industrial com-plex, where we assume he takes part in adult warfare—a socially sanctioned formof control and aggression for adult subjects.

18. Stanley Kubrick’s Lolita premiered only six years aftera The Bad Seed, and itsddsunglasses-adorned nymphette is employed as a major component of the adver-tising schema for the film.

19. Chuck Jackson, “Little, Violent, White: The Bad Seed and the Matter of Child -dren,” Journal of Popular Film and Television 28.2 (2000): 69.

20. Paul, 273.21. Recall as well that Veda’s deceit and nastiness results in acute suffering for her

mother, Mildred. Like The Bad Seed,dd Mildred Pierce is partially driven by theequestion of whether the mother will strike her daughter, which, in the latter, shedoes. Mildred Pierce also possesses pedophobic moments, as when a character equips of Veda, “Personally, Veda’s convinced me that alligators have the right idea. They eat their young.”

22. This is another significant change from March’s novel: the original text is collec-tively focalized, often shifting into internal monologues to detail its characters’ complicated and often repressed feeling about Rhoda. Of these, only LeRoy’ssoliloquies remain, resulting in a series of curiously artificial moments for thatcharacter. The only major character without internal monologues in the novel is

154 �� Notes

Rhoda, who remains an object of rumination for the other characters rather thana dynamic subject herself.

23. Paul, 274.24. Stephani Etheridge Woodson, “Mapping the Cultural Geography of Childhood:

Or, Performing Monstrous Children,” Journal of American Culture 22.4 (1999):e31–43.

25. March, 26–27.26. Rose, The Case of Peter Pan, or the Impossibility of Children’s Fiction.27. James Kincaid, Child-Loving: The Erotic Child and Victorian Culture (New York: e

Routledge, 1999), 79.28. As Lori Merrick notes, “cuteness” came to epitomize this aligned quality of

dependency and innocence. “[In] its association with childhood,” says Merrick, “cuteness always to some extent aestheticizes powerlessness . . . what the cute stage is, in part, is a need for adult care.” Lori Merrick, “Cuteness and Commod-ity Aesthetics: Tom Thumb and Shirley Temple,” in Freakery: Cultural Spectacles of the Extraordinary Body, ed. Rosemarie Garland Thomson (New York: New York University Press, 1996), 187.

29. Chuck Jackson, 71–72.30. Nostalgia, as Susan Stewart notes, has neither the recalcitrance of history nor the

presumed accuracy of memory. Rather, it is “the desire to re-create something that has never existed before, to return to some place we’ve never been, andto reclaim a lost object we never possessed.” See Susan Stewart, On Longing:Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Durham:Duke University Press, 1993), 4. Indeed, nostalgia is laced with a mix of joyousmemory and painful impossibility: Johannes Hofer, a Swiss physician, coinedthe term nostalgia in 1688 when he combined the Greek worda nostos (to returnshome) with algia (a painful condition)—a an etymology that also echoes Freud’snotion of the uncanny being both “home” and “not home.”

31. Graham Greene (1937), as quoted by Valerie Walkerdine, Daddy’s Girl: Young Girls and Popular Culture (Boston: Harvard University Press, 1998), 140. For a emore extensive discussion of Shirley Temple, performance, and the fetishizationof innocence, see Kristen Lee Hatch, “Playing Innocent: Shirley Temple and thePerformance of Girlhood, 1850–1939” (dissertation, University of California Los Angeles, 2006).

32. Chuck Jackson, 72.33. For a thorough discussion of this film as it relates to childhood aggression and

revolt, see Wood, “Introduction to the American Horror Film.”34. Jerold Simmons, “The Production Code under New Management: Geoffrey

Shurlock, The Bad Seed, anddd Tea and Sympathy,” Journal of Popular Film and Television 22.1 (1994): 10.

35. As quoted in Ibid., 11.36. Ibid., 11.37. Nicholas Sammond, Babes in Tomorrowland: Walt Disney and the Making of the

American Child, 1930–1960 (Durham, NC: Duke University Press, 2005), 10.038. Paul, 281.39. Ibid., 285.

Notes � 155

40. The other major test case for the Shurlock PCA during this time was VincenteMinnelli’s Tea and Sympathy, the story of a young gay man who “learns” to beheterosexual through an affair with a married woman. Tellingly, both films cen-tered on crises of normative development: one the adultlike child who seemed to have no need for parental intervention, the other the childlike adult dangerously arrested in a phase of sexual dysphoria. The changes demanded in both filmssought to eliminate all inroads to identification with the problematic children.

41. Laura Mulvey, “Notes on Sirk and Melodrama,” Movie 25 (Winter 1977/78).eReprinted in Home Is Where the Heart Is, ed. Christine Gledhill (London: British Film Institute, 1987), 76.

42. Sedgwick, “Paranoid Reading and Reparative Reading,” 16.43. Stockton, “Growing Sideways, or Versions of the Queer Child,” 283.44. Sontag, 17.45. Alexander Doty, “‘My Beautiful Wickedness’: The Wizard of Oz as Lesbian Fanz -

tasy,” in Flaming Classics: Queering the Film Canon (London: Routledge, 2000), 55.

46. Kathryn Bond Stockton, personal correspondence, July 13, 2007.47. Harry Benshoff, personal correspondence, June 1, 2008.48. While I use both communities, my experience would say that it holds a more

salient place within gay male communities, owing perhaps to gay male culture’scentralization of camp as an interpretative (and some would say, survivalist)mode of engagement. This may also be owing to my own limitations in engage-ment, however.

49. Elizabeth Gazik, “The Queer Sort of Fandom for Heavenly Creatures: The Clos-eted Indigence, Lesbian Islands, and New Zealand National Cinema,” in Post-colonial and Queer Theories: Intersections and Essays (Westport, CT: Greenwood sPress, 2001), 47–62.

50. “DVD Commentary,” The Bad Seed, DVD, directed by Mervyn LeRoy, 1956.dd51. “Review: The Bad Seed,”dd Hollywood Independent, October 2007.tt52. Showalter, xiii.53. Linda Mizejewski, personal communication, March 23, 2005.

Chapter 3

1. Mayne, 171.2. Janet Staiger, Perverse Spectators: The Practices of Film Reception (New York: New

York University Press, 2000), 37.3. Ellis Hanson, “Technology, Paranoia, and the Queer Voice,” Screen 34.2 (1993):

138.4. Creed, “Baby Bitches from Hell.”5. Heather Love, Feeling Backward: Loss and the Politics of Queer History (Camy -

bridge: Harvard University Press, 2007).6. John Rechy, The Sexual Outlaw: A Documentary—A Non-— Fiction Account, with

Commentaries, of Three Days and Nights in the Sexual Underground (New York: dGrove Press, 1977), 28–30, 300.

7. Stockton, “Growing Sideways, or Versions of the Queer Child,” 278.

156 �� Notes

8. Michael Warner has a useful discussion of “in group purification” in his book The Trouble with Normal: Sex, Politics, and the Ethics of Queer Life (New York: eFree Press, 1999).

9. Creed, “Baby Bitches from Hell,” 9.10. For a few examples, see Nick Cull’s piece “The Exorcist,” History Today 50.5 y

(May 2000): 46–51, and Thomas S. Frentz and Thomas B. Farrell’s “Conver-sion of America’s Consciousness: The Rhetoric of The Exorcist,” Quarterly Jour-nal of Speech 61.1 (February 1975): 20–h 42, both of which exemplify this trend. Kendall R. Phillip’s Projected Fears: Horror Films and American Culture offers a euniversalizing perspective on the film’s reception as a loss-of-faith narrative in thepost-Watergate era.

11. For more, see W. Scott Poole, Monsters in America: Our Historical Obsession with the Hideous and Haunting (Waco, TX: Baylor University Press, 2014) andg Satan in America: The Devil We Know (New York: Rowman and Littlefield, 2010).w

12. The issue of authorship in The Exorcist is a fascinating issue and one that hastbeen taken up in several texts (perhaps best by Mark Kermode’s BFI companion The Exorcist). As Kermode notes, Blatty—t performing double duty as screen-writer and producer—was quite anxious about “alternative” interpretations, even—going so far as to demand that a scene be reshot in order to make Blatty’s didacticmeaning clear.

13. For a full discussion of the exhibition of The Exorcist, see Mark Kermode’stt The Exorcist: Second Edition (London: British Film Institute, 1998).

14. Sinyard, 70.15. Paul, 297–98.16. Creed, “Baby Bitches from Hell,” 7.17. Bussing, xvii.18. Caroline Evans and Lorraine Gamman, “The Gaze Revisited, Or Reviewing

Queer Viewing,” in A Queer Romance: Lesbians, Gay Men and Popular Culture, ed. Paul Burston and Colin Richardson (London: Routledge, 1995), 46.

19. Mary Douglas, Purity and Danger: An Analysis of Concepts of Pollution and Taboo(London: Routledge and Kegan Paul, 1966).

20. Elizabeth Grosz, “Intolerable Ambiguity: Freaks as/at the Limit,” in Freakery: Cultural Spectacles of the Extraordinary Body, ed. Rosemarie Garland Thomson (New York: New York University Press, 1996), 55–68.

21. Carroll, 206.22. Butler, Bodies That Matter, 3.23. Barbara Creed, “Horror and the Monstrous-Feminine: An Imaginary Abjec-

tion,” in The Dread of Difference: Gender and the Horror Film, ed. Barry KeithGrant (Austin, TX: University of Texas Press, 1996), 56.

24. Though I have said that delineating authorial intention is not my purpose in this paper, it is worth noting, briefly, that William Friedkin does have a certain predilection for queer themes in his work: this film comes three years after the self-loathing-but-generally-loved queer film Boys in the Band (1970) and seven dyears before the homophobic exploitation film Cruising (1980).g

25. Benshoff, 15.

Notes � 157

26. Terry Castle, The Apparitional Lesbian: Female Homosexuality and Modern Cul-llture (New York: Columbia University Press, 1993), 2. For more on the problem eof horror and lesbian visibility, see Patricia White’s Uninvited: Classical Holly-wood Cinema and Lesbian Representability (Bloomington: Indiana University yPress, 1999).

27. As Judith Halberstam notes in “Looking Butch: A Rough Guide of Butches onFilm,” Mercedes McCambridge had cultivated a “predatory butch” (195) lesbianpersona for herself in films such as A Touch of Evil (1958) andl Johnny Guitar(1954). Tales of her swigging bourbon and chain smoking in order get the grav-elly timbre of the demons voice, of course, only add to her bulldyke mystique. The “rough guide” serves as a chapter in Halberstam’s Female Masculinity (Dury -ham, NC: Duke University Press, 1998).

28. We could recall Carrie as well here, which consistently links Carrie White to a epig within the film, culminating in drenching the young girl in pig’s blood, anexternalization of her monstrous menstruation.

29. “Gay Exorcism, Full Version,” YouTube.com, July 14, 2009, http://www.youtubeww.com/watch?v=Bz6qSfDvQQc.

30. Hills, 7.31. Ellis Hanson, “The Undead,” in Inside/Out: Lesbian Theories, Gay Theories, ed.

Diana Fuss (New York: Routledge, 1991), 324–40.32. Stockton, “Growing Sideways, or Versions of the Queer Child,” 285.33. Consider, for instance, the scene in which Chris asks about the Ouija board

that Regan has found in the basement closet (which, as Ellis Hanson puts it, “isgenerally not a good place to hide things from Dr. Freud” [“Knowing Children,” 125]):

CHRIS: Been playing with it?REGAN: Yup.CHRIS: You know how?REGAN: I’ll show you.CHRIS: Wait a minute, you need two.REGAN: No I don’t. I do it all the time.CHRIS: Oh yeah? Well, let’s both play.

34. Hanson, “Knowing Children,” 122.35. I had initially wanted to separate analysis of The Exorcist from that of DePalt -

ma’s Carrie, my reasoning being that one involved a possession and the other an inherent telekinetic power. However, given The Exorcist’s ambivalent alignment ttof the demon with Regan’s own repressed rage, I find that they have more incommon that I originally supposed.

36. The use of Mercedes McCambridge’s voice for the possessed Regan came to lightonly after she sued Warner Brothers for not giving her screen credit.

37. Robin Leach, “For Once, the Devil Can’t Make Linda Blair Do It: This Year, She’s Going to Horse Around,” People Weekly 11 (July 1977): 40.y

38. “The Ghoul Next Door,” Newsweek 21 (January 1974): 97.k

158 �� Notes

39. “Linda Blair Gets a New Image,” Seventeen, July 1974, 84–85.40. Shirley G. Streshinsky, “How Much Affection Should Two Girls Show?” Seven-

teen, July 1974, 78.41. Michael O’Sullivan, “Have They Paid Too Much for Their Stardom?” Rona Bar-

rett’s Gossip, September 1978, 12.42. “Linda—Exorcist—& Beyond Poster Kit” [advertisement], 16 Magazine,

December 1974, 25.43. Evans and Gamman, 46.

Chapter 4

1. Paul, 265.2. Phillip Wylie, Generation of Vipers (New York: Farrar and Rinehart, 1942). A s

bestseller in the 1940s, Generation of Vipers blamed overly affectionate and cods -dling “moms” for creating a nation of weak-willed men. This, of course, is muchin keeping with cultural narratives of queerness and developmental crisis.

3. Paul, 265.4. This masochistic element also holds true for The Good Son, in which mother

Susan (Wendy Crewson) wades deep in maternal suffering as she chooses her nephew and adopted son (Elijah Wood) over her biological son (Macaulay Culkin), resulting in her biological son’s death.

5. Paul, 265.6. Leo Bersani, “Is the Rectum a Grave?” in AIDS: Cultural Analysis, Cultural Activ-

ism, ed. Douglas Crimp (Cambridge: MIT Press, 1988), 222.7. Carolyn Steedman, Strange Dislocations: Childhood and the Idea of Human Interi-

ority, 1780–1930 (Cambridge: Harvard University Press, 1990), viii.08. Edelman, 2.9. Ibid., 5.

10. I use the pronoun I in this context to stand in for the parental point of view in Ithese films and thus, by extension, the spectator’s. I understand this formulation to be the dominant reading of the film, or the reading most likely directed by the text itself. As such, it has no bearing on how audiences actually read the text,particularly perverse or queer spectators.

11. Sigmund Freud, The Origins of Psychoanalysis: Letters to Wilhelm Fliess: Drafts and Notes 1887–1902 (New York: Basic Books, 1954), 256.2

12. Sandor Ferenczi, “Social Considerations in Some Analyses,” International Journal of Psychoanalysis 4 (1923): 475–s 78.

13. Ann Douglas, 302.14. Ibid.15. This figuration has strong literary antecedents as well, no doubt owing to its folk-

lore ties. Two notable examples—the changeling is found repeatedly in the work of William Shakespeare, most evident in the foundling Indian child that spurs a domestic battle between Oberon and Titania in A Midsummer Night’s Dream, aswell as in the work of Charles Dickens, where battered orphans find themselvesreturned to the bosom of rightful, true parents (as in Oliver Twist).t

Notes � 159

16. Two items—first is a general acknowledgement that Asian horror cinema abounds with forlorn spirits, particularly women and children. There are many explanations for this, many of them related to very culturally specific folklore, lit-erary, and artistic traditions in Asia, particularly Japan (see Jay McRoy’s Japanese Horror Cinema for more). I include a The Grudge, The Ring,gg Dark Water, and The Eye here despite their originations as Asian films—e Ju-— On (2000), Ringu (1998), Honogurai mizu no soko kara (2002), anda Gin Gwai (2002), respectively. Second iis the fact that I will not be dealing with these films, as these rich texts requiremore space than I can devote to them and a cultural acumen that I (at this time, unfortunately) do not possess.

17. Though I refrain from dubbing a genre or a film categorically progressive orregressive (see the Introduction for a fuller discussion), I offer that this narrativestrain believes in progress and is at least antinostalgic. Further, the forlorn childfilms claim that abuse was the problem, a far cry from the films in the latter half of this chapter that propose child abuse as the only sensible solution.

18. Rose, 113–14.19. Penelope Gilliat, “Anguish under the Skin,” New Yorker, June 15, 1968, 87–89.20. In a course I taught at Ohio State on Gothic literature, I found that pairing these

two texts worked very well to talk about the Gothic and monstrous patriarchy and the juridical and medical discourses that upend these power relations.

21. In the alien invasion cycle of the 1950s, for instance, the first witness to inva-sion is often a child, a member of a lower socioeconomic class, or a woman. The police or military, therefore, dismiss their claims as overemotional or uneducated exaggeration.

22. For a broader discussion of this particular film cycle, see my article “DeviledEggs: Teratogenesis and the Gynecological Gothic in the Cinema of MonstrousBirth,” in Diagnosing Demons: Essays on Illness and Disability in the Gothic, ed. Ruth Bienstock Anolik (Jefferson, NC: McFarland Press, 2010).

23. Barbara Creed, The Monstrous-Feminine: Film, Feminism, Psychoanalysis (New sYork: Routledge, 1993).

24. Teratology, in contemporary medical discourse, refers to the study of biologi-cal defects and abnormal bodies. Teratogenesis specifically refers to the study of sbirth defects and the discovery of teratogens, or the etiologic causes (often of environmental origin) of birth defects. Interestingly, the Latin root terata- trans-lates to both “monster” and “marvel,” a fitting duality for the nineteenth-century fascination with abnormal and unclassifiable bodies. Likewise, we may say thatthis ambivalence marks our fascination/repulsion with all “monsters”—literary,cinematic, and actual—due to their unclassifiable nature.

25. For a fascinating study of both of these teratological subcategories, see Grosz, “Intolerable Ambiguity.”

26. This study gave way to the nineteenth-century freak show, in which curiositiesand medical abnormalities were put on display to reinforce the primacy of the normal, abled, white body. In her introduction to Freakery: Cultural Spectacles of the Extraordinary Body, Rosemarie Garland Thomson aligns the function of the freak show with that of democracy and mercantilism—indeed, she makes fascinating links between the rise of industrialized standardization in production

160 �� Notes

and an increased valorization of the standardized body through eugenic discourse.yFreak shows, medical journals, teratology, and sensational media all asked readersand spectators to compare themselves to the defined abnormalities in order toconfirm their normative gender, racial, and bodily identities, while at the same time offering group membership through what Thomson calls “a public ritual that bond[s] a sundering polity together in the collective act of looking” (4).

27. Rosi Braidotti, “Signs of Wonder and Traces of Doubt: On Teratology and Embodied Differences,” in Feminist Theory and the Body: A Reader, eds. Janet Price and Margrit Shildrick (London: Routledge, 1999), 290–301.

28. Mary Douglas, 18–19.29. One of the most fascinating examples is the case of Puritan religious leader

Ann Hutchinson, whose Antinomian teachings brought about the ire of reli-gious officials. After her heresy trial in 1637, Hutchinson was accused of causing the “monstrous pregnancy” of one of her followers, Mary Dyer. The fetus wasexhumed and displayed publicly for the parishioners to witness of the horror of Hutchinson’s dangerous theology and the results of her teratogenic miscreance.

30. Sarah Franklin, “Fetal Fascinations: New Dimensions to the Medical-Scientific Construction of Fetal Personhood,” in Off-Centre: Feminism and Cultural Stud-ddies, ed. Sarah Franklin, Celia Lury, and Jackie Stacey (New York: Harper-Collins, 1992), 195.

31. Published in 1866, Ernst Haeckel’s theory of recapitulation (commonly restatedas “ontology recapitulates phylogeny”) holds that the evolutionary history of the entire human species (phylogeny) can be witnessed in the ontological growth of a single human being. Though debunked in modern times, this body of theory has continuing impact on eugenics and theories of racial superiority, particularly when racial dominance is cast in terms of child/adult developmental stages.

32. See Robin Wood, Hollywood from Vietnam to Reagan . . . and Beyond: Expanded and Revised Edition (New York: Columbia University Press, 2003), and Tony Williams, Hearths of Darkness: The Family in the American Horror Film (Madi-son, NJ: Fairleigh Dickinson University Press, 1996).

33. Vivian Sobchack, “Bringing It All Back Home: Family Economy and Generic Exchange,” in Dread of Difference: Gender and the Horror Film, ed. Barry KeithGrant (Austin: University of Texas Press, 1996), 143–63.

34. This includes two sequels, both by director Larry Cohen: It Lives Again (1978)and It’s Alive III: Island of the Alive (1987). In the first sequel, Frank returns asean impassioned advocate for the teratogenic infants, pleading for their asylum in open court and traveling around the country to educate expectant parents.

35. See Patricia Ehrens, “Stepfather: Father as Monster in Contemporary HorrorFilm,” and Vivian Sobchack, “Bringing It All Back Home: Family Economy andGeneric Exchange,” in The Dread of Difference: Gender and the Horror Film, ed. Barry Keith Grant (Austin, TX: University of Texas Press, 1996).

36. Based on the novel The Midwich Cuckoos (1957) by John Wyndham.s37. Richard Dyer, White (London: Routledge, 1997).e38. Wheeler Dixon, “The Child as Demon in Films since 1961,” Films in Review

37.2 (February 1986): 81–82.39. Edelman, 21.

Notes � 161

40. Wood, “Introduction to the American Horror Film,” 198.41. One of the items that I came across when researching fan magazines for Linda

Blair was a full two-page advertising spread for this film, which featured Jona-than Scott-Taylor as the adolescent Damien. I find this inclusion telling, as Tay-lor’s image for this film exists somewhere between pretty-boy pinup and ReaganMcNeil–level avatar of adolescent queerly tinged anger. Its inclusion in an issue that features “Sexy Linda Blair & Exorcist pics” should be no surprise given Blair’s utility as an equally pleasurable manifestation of transgressive rage.

42. The end of the film, it is intimated, brings about the Biblical Rapture with Damien’s defeat. This, fans note, poses a continuity problem for the sequel Omen IV: The Awakening, and in an interestingly queer reception practice, fans havegglocated this omission as a rationale to read the conclusion of Omen III as spiritualIillusion and not the actual Rapture.

43. Wood, “Introduction to the American Horror Film,” 211.44. Dixon, 83.45. Tudor, 65.46. D. A. Miller, “Anal Rope,” in Inside/Out: Lesbian Theories, Gay Theories, ed.

Diana Fuss (New York: Routledge, 1991), 125.

Chapter 5

1. George Hecht, “1950–1960: The Decade of the Child,” Parents’ Magazine, Janu-ary 1950, 18.

2. Edelman, 11.3. As there are two films in this chapter with the same title, I will continue to use

the release year when referring to these films as a means of differentiation.4. Films implicated in the subgenre include The Space Children (1958), Suddenly,

Last Summer (1959), r The Innocents (1961), s These Are the Damned (1963),d Chil-dren of the Damned (1964),d Don’t Deliver Us from Evil [l Mais ne nous délivrez pas du mal] (1971), ll The Blood on Satan’s Claw (1971),w The Other (1972),r The Fury(1978), It Lives Again (1978), The Brood (1979),d The Children (1980), Children of the Corn (1984), It’s Alive III: Island of the Alive (1987),e Beware: Childrenat Play (1989), y Children of the Corn II: The Final Sacrifice (1993),e Cuckoos at Bangpleng [g Kawow tee Bangpleng] (1994),gg Heavenly Creatures (1994),s Sister My Sister (1994), r Fun (1994), Village of the Damned (1995),d Children of the Corn III: Urban Harvest (1995), t Children of the Corn IV: The Gathering (1996),g Childrenof the Corn V: Fields of Terror (1998),r Children of the Corn 666: Isaacs’s Return(1999), Battle Royale [e Batoru rowaiaru] (2000), Children of the Corn: Revelation(2001), Stacy (2001),y Battle Royale II [I Batoru rowaiaru II: Chinkonka] (2003),The Plague (2006),e The Children (2008), and Child’s Game (2010).e

5. Edelman, 3.6. Wood, “Introduction to the American Horror Film,” 200.7. The Children is not alone in its inclusion of revolting children within the “Homo

Horror Guide.” Other alums from this work include Apt Pupil,ll The Baby, Bride of Chucky, The Exorcist,tt Ginger Snaps, May, Sleepaway Camp, and The Unborn.

162 �� Notes

8. The musical is still in rep at several theatres around the country. More informa-tion is available at http://www.thechildrenthewebsiteww .com.

9. “The Children: The Musical,” The Children, DVD Special Features, 2001.10. Buzz, “The Children (of Ravensblack)” [review], CampBlood, Februarydd 4, 2010,

http://campblood.org/Reviews/Review%20-%20The%20Children.htm.11. Erik Erikson, Childhood and Society (New York: W.y W. Norton & Co., 1993),

262.12. James Gilbert, A Cycle of Outrage: America’s Reaction to the Juvenile Delinquent

(New York: Oxford University Press, 1986), 40.13. Michel Foucault, Discipline and Punish: The Birth of the Prison (New York: Pan-

theon Books, 1973), 143.14. Ibid., 143.15. Michel Foucault, The History of Sexuality: An Introduction, Volume One (New e

York: Vintage, 1990).16. Michel Foucault, “What Is Enlightenment?” in The Foucault Reader (New York:r

Random House, 1984), 45.17. Eric Ziolkowski, Evil Children in Religion, Literature, and Art (New York: Palt -

grave MacMillan, 2001).18. Julia Kristeva, The Powers of Horror (New York: Columbia University Press,r

1982).19. Bersani, Homos, 76.20. Gilbert, 187.21. Qtd. in Gilbert, 72.22. Based on the novel Child’s Game [e El Juego de los Niños] (1970) by Juan José Plans.ss23. See the extras on The Children DVD and the official website for the musical

adaptation at http://www.thechildrenthewebsiteww .com.24. Based on a Stephen King short story of the same name from his book Night

Shift (1979). Interestingly, it has been suggested that King’s short story is concise treworking of either Plans’s earlier novel or the movie on which it was based.

25. Lloyd Kaufman, “Introduction,” Beware: Children at Play, DVD, directed by Max Kalmanowicz, 1980.

26. Holland, 64.27. Melanie Klein, The Psychoanalysis of Children, trans. Alix Strachey (London:

Hogarth, 1950).28. Ibid., 80.29. Dick Hebdige, Hiding in the Light: On Images and Things (London: Comedia, s

1988), 18.30. Diederik Janssen, “Re-Queering Queer Youth Development: A Post-

Developmental Approach to Childhood and Pedagogy,” Journal of LGBT Youth3 (2008): 84.

31. Matthew Tinkcom, Working like a Homosexual: Camp, Capital, Cinema (Dura -ham, NC: Duke University Press, 2002), 13.

32. Sontag, 62.33. Richard Dyer, “It’s Being So Camp as to Keep Us Going,” in Camp: Queer Aes-

thetics and the Performing Subject: A Reader, ed. Fabio Cleto (Ann Arbor: Univer-sity of Michigan Press, 2002), 110–16.

Notes � 163

34. Richard Neville, Play Power: Exploring the International Underground (London: dCape, 1970), 278.

35. Holland, 15.36. Cowie, 148.37. Judith Butler, “Is Kinship Always Already Heterosexual?” differences: A Journal of

Feminist Cultural Studies 13.1 (2002): 18.s38. Ibid., 20.39. Edelman, 3.40. Tudor, 113.41. Ibid.42. Stockton, “Growing Sideways, or Versions of the Queer Child,” 283.43. Amit Rai, “The Future Is a Monster,” Camera Obscura 21 (2006): 59.a44. Carson McCullers, A Member of the Wedding (New York: First Mariner Books,g

1946), 1.45. Bersani, Homos, 21.46. McCullers, 23–24.47. Linda Williams, “When the Woman Looks,” in The Dread of Difference: Gender

and the Horror Film, ed. Barry Keith Grant (Austin: University of Texas Press, 1996), 18.

48. 81st Congress 2nd Session, Cong. Rec. 96.4 (March 29–April– 24, 1950): 4527–28, http://www.englishww .upenn.edu/~afilreis/50s/gays-in-govt.html.

49. Holland, 109.50. Carol Clover, “The Eye of Horror,” in Viewing Positions: Ways of Seeing Film, ed.

Linda Williams (New Brunswick, NJ: Rutgers University Press, 1995), 185.51. Interestingly, it is suggested in a number of the mind-reading sequences that the

children can read the adults’ hateful, and even murderous, impulses toward them.The adults register shock at this suggestion, which is either an anxious rejec-tion or a sign that the children have access to their unconscious motivations—essentially that they know the adults better than they know themselves.

52. Joel Best, Threatened Children: Rhetoric and Concern about Child-Victims (Chis -cago: University of Chicago Press, 1990), 116.

53. Sammond, 258.54. Ed Vitagliano, “Targeting Children: How the Homosexual Movement Uses

School as Instruments of Change,” American Family Association, January 12,2010, http://www.afaww .net/homosexual_agenda/childrenb.asp [article removed].

55. Nancy Scheper-Hughes and Howard Stein, “Child Abuse and the Unconscious in American Popular Culture,” in The Children’s Culture Reader, ed. Henry Jen-kins (New York: New York University Press, 1998), 185.

56. A notable exception is Children of the Corn, which uses a child leader due to thefilm’s deployment of “cult” anxiety, though it should be noted that his subjects eventually overthrow the cult leader when he no longer supports their collective wishes.

57. Tudor, 115.58. Margaret Mead’s “Child-Training Ideals in a Postrevolutionary Context: Soviet

Russia,” in Childhood in Contemporary Culture (Chicago: University of Chicago e

164 �� Notes

Press, 1953), delineates “good” American and “bad” Soviet child-rearing prac-tices, the latter of which raises overcivilized adultlike children.

59. Victor Turner, Dramas, Fields, and Metaphors: Symbolic Action in Human Society(Ithaca: Cornell University Press, 1974).

60. Butler, “Is Kinship Always Already Heterosexual?” 15.61. Ibid., 16.62. Kath Weston, Families We Choose: Gays, Lesbians, Kinship (New York: Columbia

University Press, 1991), 105.63. Qtd. in Michael Moon, A Small Boy and Others: Imitation and Initiation in Amer-

ican Culture from Henry James to Andy Warhol (Durham, NC: Duke University lPress, 1998), 5.

Chapter 6

1. Edelman, 2.2. Foucault, History of Sexuality, 101.3. Stephen Da Silva, “Transvaluing Immaturity: Reverse Discourses of Male

Homosexuality in E.M. Forster’s Posthumously Published Fiction,” Criticism40.2 (spring 1998): 270.

4. Jose Esteban Munoz, Cruising Utopia: The Then and There of Queer Futurity(New York: New York University Press, 2009), 1.

Film Appendix

The Curse of the Cat People. Dirs. Robert Wise, Gunther von Fritsch. RKO Radio Pic-tures, 1941.

A lonely girl with a very active imagination meets a new friend when the ghost of herfather’s first wife visits her.

Meet Me in St. Louis. Dir. Arthur Freed. Metro-Goldwyn-Mayer, 1944.The head of a wealthy family must decide the fate of his four daughters and determinewhether or not they will leave St. Louis and miss the World’s Fair.

Mildred Pierce. Dir. Michael Curtiz. Warner Bros. Pictures, 1945.A divorcee is swindled by her new husband, who is in league with her eldest daughter.

The Boy with Green Hair. Dir. Joseph Losey. RKO Radio Pictures, 1945.When a war orphan realizes his parents are dead, his hair turns green, which causes the other people in his town to shun him.

The Bad Seed. Dir. Mervyn Leroy. Warner Bros. Pictures, 1956.ddWhen a boy in her daughter’s class dies in a drowning incident, a mother fears herdaughter may have been involved.

The Gamma People. Dir. John Gilling. Warwick Film Productions, 1956.A reporter discovers that a dictator uses gamma radiation to turn children into mutatedkillers.

I Was a Teenage Werewolf. Dir. Gene Fowler Jr. Sunset Productions, 1957.fA teenager seeks out a doctor to help him control his anger. The doctor, however, sub-jects the boy to tests and makes him regress to an animal state.

I Was a Teenage Frankenstein. Dir. Herbert L. Strock. Santa Rosa Productions, 1957.After a deadly crash, a university professor steals body parts and uses them to create a disfigured monster that becomes murderous.

Blood of Dracula. Dir. Herbert L. Strock. American International Pictures, 1957.A science teacher uses hypnosis to manipulate an unwitting girl and make her commithorrible crimes.

166 �� Film Appendix

Teenage Monster. Dir. Jacques R. Marquette. Marquette Productions, Ltd., 1958.A boy and his father are hit by a meteor. The father dies, but the boy grows into a ram-paging monster.

Teenage Zombies. Dir. Jerry Warren. GBM Productions, 1960.A group of teenagers land on an island and encounter a female scientist that wants toturn them into mindless zombies.

Teenage Caveman. Dir. Roger Corman. Malibu Productions, 1958.A young caveman defies the laws of his people and explores an area that holds the secret to his people’s origin.

Monster on the Campus. Dir. Jack Arnold. Universal International Pictures, 1958.The blood from a prehistoric fish turns a college professor into a beast that rampages through the campus.

The Space Children. Dir. Jack Arnold. Paramount Pictures, 1958.An alien uses telepathy to control scientists’ children and convince the youths to sabo-tage their parents’ rocket launch.

Teenagers from Outer Space. Dir. Tom Graeff. Tom Graeff Productions, 1959.An alien falls in love with a teenage girl. The two join forces to stop the aliens’ brethren, who want to take over the planet.

Suddenly, Last Summer. Dir. Joseph L. Mankiewicz. Horizon Pictures, 1959.A woman tries to cover up the truth about her son’s death by convincing a doctor tolobotomize her niece, who witnessed the event.

Village of the Damned. Dir. Wolf Rilla. Metro-dd Goldwyn-Mayer British Studios, 1960.An entire village inexplicably falls asleep at the same time. Later, all the women becomepregnant. The fast-growing, blond-haired progeny of these women then torment the town.

“It’s a Good Life,” The Twilight Zone. Dir. James Sheldon. Cayuga Productions, Inc.,1961.

A six-year-old controls an entire town, keeping them in constant fear of his amazing mental powers.

The Children’s Hour. Dir. William Wyler. The Mirsch Corporation, 1961.A spiteful student at a private school for girls sabotages the headmistresses by accusing them of being lesbian lovers.

The Innocents. Dir. Jack Clayton. Achilles, 1961.A governess in Victorian England tries to help two children free their souls from the ghosts that haunt them.

Film Appendix � 167

Lolita. Dir. Stanley Kubrick. Metro-Goldwyn-Mayer, 1962.A man marries a woman so that he might get closer to his true love, the woman’s14-year-old daughter.

Whatever Happened to Baby Jane? Dir. Robert Aldrich. The Associates and Aldrich Com? -pany, 1962.

Two women, both former actresses, live in isolation as their hostility toward each otherbuilds.

These Are the Damned. Dir. Joseph Losey. Columbia Pictures Corporation, 1963.An American visiting England faces many dangers, including a collection of radioactivechildren housed by the government.

The Lord of the Flies. Dir. Peter Brook. Two Arts, Ltd., 1963.A group of boys crash onto an island and become more vicious and savage each day.

Children of the Damned. Dir. Anton M. Leader. Metro-dd Goldwyn-Mayer British Studios, 1964.Six incredibly smart children are discovered at various points around the world. Inter-national tensions rise.

A High Wind in Jamaica. Dir. Alexander Mackendrick. Twentieth Century Fox, 1965.British parents living in Colonial Jamaica send their children back to Britain, afraidof the way that the “savage” country is affecting them. On the way home, though, thechildren are seized by pirates.

The Nanny. Dir. Seth Holt. Associated British, 1965.A nanny watches over a boy who drowned his little sister. When the boy’s mother is poisoned, he is suspected, but he blames the nanny.

Kill, Baby . . . Kill! Dir. Mario Bava. FUL Films. 1966.!An inspector investigates a woman’s mysterious death, only to become a victim of theghost of Melissa, the little girl responsible for the murder.

Let’s Kill Uncle. Dir. William Castle. William Castle Productions, 1966.A 12-year-old boy defends himself against his uncle, who tries to kill the boy before he can collect his inheritance.

Rosemary’s Baby. Dir. Roman Polanski. William Castle Productions, 1968.A young couple is expecting a child, though the mother fears that she is carrying thespawn of Satan in her womb.

Night of the Living Dead. Dir. George Romero. Image Ten, 1968.ddA group of people tries to survive after reanimated corpses start to walk the earth in search of human flesh.


The Illustrated Man. Dir. Jack Smight. SKM, 1969.A man searches for the woman who covered him in tattoos. Each tattoo tells a story about the future, and this anthology film focuses on three of those stories.

The Wild Bunch. Dir. Sam Peckinpah. Warner Brothers / Seven Arts, 1969.A group of desperate, aging outlaws agrees to steal a shipment of weapons for a Mexicangeneral after a failed bank heist.

Don’t Deliver Us from Evil. Dir. Joel Seria. Societe Generale de Production Amicus Proll -ductions, 1971.

An investigator searches for answers in four unsolved cases, including one involving a little girl who has taken to witchcraft.

Blood on Satan’s Claw. Dir. Piers Haggard. Tigon British Film Productions, 1971.A Satanic beast invades a town, causing the children in the village to become evil.

Hands of the Ripper. Dir. Peter Sasdy. Hammer Film Productions, 1971.Jack the Ripper’s teenage daughter is taken in by a psychiatrist who thinks he can cureher of her murderous desires.

Who Ever Slew Auntie Roo? Dir. Curtis Harrington. American International Productions,?1971.

A widow throws a large Christmas party for the orphanage every year, but she lures them there for sinister purposes.

Ben. Dir. Phil Karlson. Bing Crosby Productions, 1972.A boy befriends a rat, the leader of a group of killer rats.

Night Hair Child. Dir. James Kelly and Andrea Bianchi. Cemo Film, 1972.ddA young bride moves in with her new husband and becomes suspicious and fearful of her stepson.

The Other. Dir. Robert Mulligan. Benchmark, 1972.Twin brothers terrorize their family, though one of the brothers is not what he seemsto be.

The Exorcist. Dir. William Friedkin. Hoya Productions, 1973.A mother brings in a priest in an effort to save her daughter, who has been possessed by a demon.

Don’t Look Now. Dir. Nicolas Roeg. Casey Productions, 1973.An American couple moves to Italy after the death of their daughter. But things turn badwhen the husband starts seeing visions of their dead daughter.


Tales That Witness Madness. Dir. Freddy Francis. World Film Services, 1973.A psychiatrist tells the tales of four patients that went insane and ended up at the mental hospital at which he works.

Flesh for Frankenstein. Dirs. Paul Morrissey, Antonio Margheriti. Compagnia Cinemato-grafico Champion, 1973.

Baron Frankenstein tries to build a perfect man and woman, but he can’t breed them when he accidentally uses the head of a gay man.

Chi Sei? Dirs. Ovidio G. Assonitis, Robert Barrett. A Erre Cinematografica, 1974.?A pregnant woman becomes possessed by the devil.

Devil Times Five. Dir. Sean Macgregor. Barrister Productions, 1974.Murderous children escape from the psychiatrists holding them and attack a group of adults foolish enough to take them in.

It’s Alive. Dir. Larry Cohen. Larco Productions, 1974.A young couple is devastated when their child is born a crazed monster.

I Don’t Want to Be Born. Dir. Peter Sasdy. Unicapital, 1975.A woman mistreats a dwarf, only to have him possess her child years later.

Demon Witch Child. Dir. Amando De Ossorio. Isaac Hernande Poncela, 1975.ddA politician throws a witch in jail, only to have the witch possess his daughter years later.

Escape to Witch Mountain. Dir. John Hough. Walt Disney Pictures, 1975.Two orphans possess magical powers and are pursued by an evil millionaire.

The Omen. Dir. Richard Donner. Twentieth Century Fox Productions, 1976.A man learns that his son is the Biblical Antichrist.

Communion. Dir. Alfred Sole. Harristown Funding, 1976.When a girl dies after her first communion, her older sister is suspected of committing the crime.

Who Can Kill a Child? Dir. Narcisco Ibanez Serrador. Penta Films, 1976.?A young tourist couple fights for their lives after they arrive on an island taken over by murderous children.

The Little Girl Who Lives down the Lane. Dir. Nicolas Gessner. Braun EntertainmentGroup, 1976.

When her father leaves their secluded house, a girl must protect their home from curi-ous visitors.


Carrie. Dir. Brian DePalma. Redbank Films, 1976.A young girl with telekinetic powers unleashes her wrath on her schoolmates after they humiliate her at prom.

Kiss of the Tarantula. Dir. Chris Munger. Cinema-Vu, 1976.A teenage girl uses her pet tarantulas as weapons against those classmates who have tormented her.

To the Devil a Daughter. Dir. Peter Sykes. Hammer Film Productions, 1976.Satanists look to use a young girl to bring Satan to earth, but a novelist comes to herrescue.

Cathy’s Curse. Dir. Eddy Matalon. Les Productions Agora, 1977.A young woman, possessed by the spirit of her dead aunt, starts killing her family members.

Full Circle. Dir. Richard Loncraine. Canadian Film Development Corporation, 1977.A housewife is haunted by the ghost of her recently deceased daughter.

Exorcist II: The Heretic. Dir. John Boorman. Warner Bros. Pictures. 1977.Though she was exorcised years earlier, a girl learns that the demon may still be insideof her.

Ruby. Dir. Curtis Harrington. Mid-America Pictures, 1977.Sixteen years after her boyfriend is murdered, the owner of a drive-in theatre becomessuspicious of her mute daughter as bodies pile up at her place of business.

Demon Seed. Dir. Donald Cammell. Metro-dd Goldwyn-Mayer, 1977.A superintelligent computer starts to become interested in a scientist’s wife.

The Child. Dir. Robert Voskanian. Panorama Films, 1977.ddA housekeeper learns that the young girl who lives there possesses supernatural powers that she uses for nefarious means.

Audrey Rose. Dir. Robert Wise. Sterobcar Productions, 1977.A young couple meets a man who tries to convince them that their daughter possessesthe spirit of his daughter, reincarnated.

Alucarda. Dir. Juan Lopez Moctezuma. Films 75, 1978.A young woman goes to live at a convent and unleashes an evil force.

The Boys from Brazil. Dir. Franklin J. Schaffner. Incorporated Television Company, ll1978.

A Nazi in exile tries to revive Hitler and the Third Reich through a group of young boys.


Damien: Omen II. Dir. Don Taylor. Twentieth Century Fox Film Corporation, 1978.IIDamien, now coming of age, is led toward his destiny by a Satan worshipper.

The Manitou. Dir. William Girdler. Mid-America Pictures, 1978.A woman believes she has a tumorous growth on her neck, but the growth turns out tobe the fetus of a centuries-old American Indian.

Return from Witch Mountain. Dir. John Hough. Walt Disney Pictures, 1978.A scientist looks to manipulate two twins with psychic powers.

Jennifer. Dir. Brice Mack. American International Pictures, 1978.A girl who can control snakes with her mind uses her power to attack those at her school who have ridiculed her.

The Fury. Dir. Brian De Palma. Frank Yablans Presentations, 1978.The government tries to exploit a young boy’s psychic abilities, but his father comes to his rescue.

It Lives Again. Dir. Larry Cohen. Larco Productions, 1978.The man who fathered the first monster baby warns another couple that they will facethe same fate.

Halloween. Dir. John Carpenter. Compass International Pictures, 1978.A babysitter and her friends are attacked by a maniac that has escaped from an asylum.

The Brood. Dir. David Cronenberg. Canadian Film Development Corporation, 1979.Mutant children murder people while a man investigates the extreme methods a psychia-trist uses on his wife.

The Tin Drum. Dir. Volker Schlondorf. Argos Films, 1979.A young boy living in 1930s Germany wills himself to stay the same age forever.

The Shining. Dir. Stanley Kubrick. Warner Bros. Pictures, 1980.ggA writer slowly loses his mind as he and his family spend a winter in a haunted hotel.

The Changeling. Dir. Peter Medak. Chessman Park Productions, 1980.ggA composer who just lost his wife and daughter in a car accident stays in a home haunted by a child.

The Godsend. Dir. Gabrielle Beaumont. Cannon Films, 1980.ddA family takes in an orphan as their own, but, as their children die prematurely, they begin to wonder if they’ve made the right choice.


Macabro. Dir. Lamberto Bava. A.M.A. Film, 1980.A woman is released from a mental asylum a year after her lover died in a car accident.She runs into problems with a suspicious blind man and her murderous daughter.

Cannibal Holocaust. Dir. Ruggero Deodato. F.D. Cinematografica, 1980.A documentary crew visits a cannibal tribe in South America and suffers the fatalconsequences.

The Children. Dir. Max Kalmanowicz. Albright Films, Inc., 1980.When their children become infected by a gas that turns them into killers, their parentsmust make tough choices.

The Awakening. Dir. Mike Newell. EMI Films, 1980.ggAn archaeologist tries to save his daughter, and the world, after she becomes possessed by the spirit of an Egyptian queen.

Inseminoid. Dir. Norman J. Warren. Jupiter Film Productions, 1981.ddAfter being impregnated by an alien, a woman on a spaceship becomes homicidal.

The Pit. Dir. Lew Lehman. Amulet Pictures, 1981.A boy terrorizes his classmates, communicates with his teddy bear, and feeds people totrolls.

Bloody Birthday. Dir. Ed Hunt. Judica Productions, 1981.Three children become vicious killers because they were born when the moon was block-ing Saturn.

Omen III: The Final Conflict. Dir. Graham Baker. Twentieth Century Fox Film Corpora-tion, 1981.

A grown up Damien seeks to destroy the newborn Christ child.

Basket Case. Dir. Frank Henenlotter. Basket Case Productions, 1981.A man and his deformed brothers seek revenge against the doctor that separated their formerly conjoined bodies.

Venom. Dir. Piers Haggard. Morison Film Group, 1981.Men attempt to kidnap a child but are terrorized by a black mamba snake in the process.

Kiss Daddy Goodbye. Dir. Patrick Regan. Pendragon Film, 1981.Two psychic children attack the biker gang that killed their father.

Poltergeist. Dir. Tobe Hooper. Metro-Goldwyn-Mayer, 1982.A family tries to fight off the ghosts that have invaded their house.


Don’t Go to Sleep. Dir. Richard Lang. Aaron Spelling Productions, 1982.A girl is haunted by the ghost of her younger sister.

Twilight Zone: The Movie. Dirs. John Landis, Joe Dante, George Miller, Steven Spiel-berg. Warner Bros. Pictures, 1983.

Four classic tales from the original Twilight Zone series are retold by modern directors.e

Julie Darling. Dirs. Paul Nicholas, Maurice Smith. Hansa Productions, 1983.ggA teenage girl, obsessed with her father, attacks her stepmother and stepbrother whenthey enter her life.

Sleepaway Camp. Dir. Robert Hiltzick. American Eagle, 1983.The campers and counselors at a summer camp fall victim to a mysterious killer.

Children of the Corn. Dir. Fritz Kiersch. Angeles Entertainment Group, 1984.The children in a town, under the influence of a child preacher, attack the adults.

Firestarter. Dir. Mark L. Lester. Dino De Lorentiis Company, 1984.Two telekinetic people give birth to a daughter who can control fire with her mind.

Poison for the Fairies. Dir. Carlos Enrique Taboada. Institue Mexicana Cinematografia,1984.

Two little girls form a friendship and drive each other to commit murderous acts.

Phenomena. Dir. Dario Argento. DACFILM Rome, 1985.A young girl uses her psychic connection to insects to solve a murder.

The Bad Seed. Dir. Paul Wendkos. Hajeno Productions, 1985.ddIn this remake of the 1956 film, a mother confronts the fact that her daughter is a viciouskiller.

Twisted. Dir. Adam Holender. Morison Film Group, 1986.ddA tech-savvy boy terrorizes his sister and babysitter with electronic mischief.

Deadly Friend. Dir. Wes Craven. Warner Bros. Pictures, 1986.A teenage boy tries to save his crush, who was pushed down the stairs by her father, by implanting his robot friend’s brain into her skull.

It’s Alive III: Island of the Alive. Dir. Larry Cohen. Larco Productions, 1987.A man tries to save the mutant babies, who have been exiled onto an island.

Angel Heart. Dir. Alan Parker. Carolco International N.V., 1987.A private investigator is hired to track down a singer.


The Lost Boys. Dir. Joel Schumacher. Warner Bros. Pictures, 1987.A teenage boy and his little brother fight off a crew of hip, Californian vampires.

Child’s Play. Dir. Tom Holland. United Artists, 1988.A child receives the worst gift ever, a doll that kills.

Celia. Dir. Ann Turner. Seon Film Productions, 1989.A young girl descends into madness and has fantasies about hideous monsters.

Beware: Children at Play. Dir. Mick Cribben. Troma Entertainment, 1989.An evil teenager steals children so that he can train them to be killers.

Pet Sematary. Dir. Mary Lambert. Laurel Productions, 1989.A family moves into a new town. After their son dies, the father takes him to a cemetery where the townspeople believe the dead are resurrected.

Basket Case 2. Dir. Frank Henenlotter. Shapiro Glickenhaus Home Video, 1990.Formerly conjoined twins take refuge with their aunt, who houses freaks in her home.

The Unborn. Dir. Rodman Flender. Califilm, 1991.Two parents utilize in-vitro fertilization, only to find out that they have become the victims of a mad experiment.

Dolly Dearest. Dir. Maria Lease. Channeler Enterprises, 1991.A family moves to Mexico to make toys, but their toys turn on them.

Pet Sematary II. Dir. Mary Lambert. Paramount Pictures, 1992.IIOnce again, new inhabitants in the town fall victim to the supernatural forces in the cemetery.

Basket Case 3: The Progeny. Dir. Frank Henenlotter. Shapiro Glickenhaus Home Video, 1992.

Belial unleashes his fury on a group of cops that captured his newly born, deformity-covered child.

Dead Alive. Dir. Peter Jackson. WingNut Films, 1992.An infected rat monkey bites a woman and turns her into the first in a string of zombies.

Poison Ivy. Dir. Katt Shea. New Line Cinema, 1992.A scheming teenager forces her way into another girl’s family.

Mikey. Dir. Dennis Dimster. Constantin Film, 1992.A boy is shuffled from home to home after each of his foster families falls victim to his destructive nature.


Crush. Dir. Alison Maclean. Hibiscus Films, 1992.A man becomes involved with a novelist’s teenage daughter, which leads to trouble.

The Good Son. Dir. Joseph Ruben. Twentieth Century Fox Film Corporation, 1993.A young boy is put in danger when his cousin starts acting increasingly sinister.

Children of the Corn II: The Final Sacrifice. Dir. David Price. Corn Cob Productions,1993.

The children from the first film are moved to a nearby town and are visited by a curiousman.

Relative Fear. Dir. George Mihalka. Allegro Films, 1994.A mystery arises when a string of people die after being around a small boy.

Fun. Dir. Rafal Zielinski. Greycat Films/neo Modern Entertainment, 1994.Shortly after meeting each other, two girls kill an old woman together for fun.

Heavenly Creatures. Dir. Peter Jackson. Fontana Productions, 1994.Two girls meet, start a lesbian relationship, and turn to murder.

Interview with a Vampire. Dir. Neil Jordan. Geffen Pictures, 1994.An eighteenth-century plantation owner is turned into a vampire and then turns a littlegirl into one as well.

Sister My Sister. Dir. Nancy Meckler. British Screen Productions, 1994.Two poor sisters become maids in a wealthy widow’s house. The girls have a tense rela-tionship with the widow and her daughter.

Village of the Damned. Dir. John Carpenter. Alphaville Films, 1995.ddIn this remake of the original film, a group of women are mysteriously impregnated andgive birth to alien children.

Children of the Corn III: Urban Harvest. Dir. James D. R. Hickox. Park Avenue Produc-tions, 1995.

Two children from Gatlin are taken in by foster parents in Chicago, and terror falls onthe city.

Daddy’s Girl. Dir. Martin Kitrosser. The Image Organization, 1996.A girl, obsessed with her father, viciously attacks those who come near him.

The Twilight of the Golds. Dir. Ross Kagan Marks. Below the Belt Entertainment, 1997.A woman ponders whether or not to keep her baby after she finds out that there’s a chance he might be born gay.


Ringu. Dir. Hideo Nakata. Omega Project, 1998.People fall victim to the evil spirits that possess a VHS tape.

Progeny. Dir. Brian Yuzna. Progeny Films Inc., 1998.Aliens impregnate an unsuspecting woman.

Milo. Dir. Pascal Franchot. MDF Productions III, 1998.A boy kills a classmate and disappears. Years later, the boy’s ghost reappears.

Ringu 2. Dir. Hideo Nakata. Kadokawa Shoten Publishing Company, 1999.The victim from the first film gains the psychic powers that his attacker possessed.

The Astronaut’s Wife. Dir. Rand Ravich. New Line Cinema, 1999.Two astronauts are involved in a mysterious incident while in their shuttle. They comehome safely, but they have changed.

Memento Mori. Dirs. Tae Yong Kim, Kyu Dong Min. Cine-2000, 1999.A girl discovers a diary that induces frightening hallucinations.

Pyrokenesis. Dir. Shushuke Kaneko. Toho Company, 2000.A woman uses her control over fire to track down a murderous boy.

Ginger Snaps. Dir. John Fawcett. Copperheart Entertainment, 2000.The bond between two sisters is threatened when one becomes a teenage werewolf.

Ju-On. Dir. Takashi Shimizu. Toei Video Company, 2000.A family of ghosts haunts a house after they are murdered in a crime of passion.

Battle Royale. Dir. Kinji Fukasaku. Battle Royale Production Committee, 2000.A high school class is put on an island and forced to fight each other to the death.

Bully. Dir. Larry Clark. Studio Canal, 2001.A group of teenagers plot to murder a kid that has bullied them.

Bless the Child. Dir. Chuck Russell. BTC Productions KG, 2001.ddA woman fights for control over her sister’s daughter, a victim of an occult ritual that gave her strange powers.

The Devil’s Backbone. Dir. Guillermo Del Toro. El Deseo S.A., 2001.During the Spanish Civil War, a young orphan encounters a ghost at a boarding school.

Stacy. Dir. Naoyuki Tomomatsu. GAGA, 2001.All the world’s females between the age of 15 and 17 become flesh-eating monsters.


Brotherhood of the Wolf Dir. Christophe Gans. Canal+, 2001.ffA mysterious monster kills off villagers in eighteenth-century France.

The Ring. Dir. Gore Verbinski. Dreamworks SKG, 2002.ggAmerican people fall victim to the spirits that haunt a VHS tape.

May. Dir. Lucky McKee. 2 Loop Films, 2002.A young woman seeks to build the perfect lover from the parts of men she meets.

Identity. Dir. James Mangold. Columbia Pictures Corporation, 2003.People are stranded in a hotel, helpless against the person killing them.

Ginger Snaps Back: The Beginning. Dir. Grant Harvey. 49 Films, 2004.ggTwo orphaned twins take refuge with settlers but are attacked by werewolf-like monsters.

Godsend. Dir. Nick Hamm. Lions Gate Films, 2004.ddA couple clones their deceased son, but the clone does not turn out right.

Blessed. Dir. Simon Fellows. Syndicate Films, 2004.ddA woman is fertilized with Satan’s DNA after a trip to the fertility clinic.

The Grudge. Dir Takashi Shimizu. Senator International, 2004.A family of ghosts haunts a house after they are murdered in a crime of passion.

Dawn of the Dead. Dir. Zack Snyder. Strike Entertainment, 2004.ddA group of people seek refuge in a mall during the zombie apocalypse.

The Ring 2. Dir. Hideo Nakata. Dreamworks SKG, 2005.The videotape was destroyed, but Rachel finds out that the danger is not over.

Hard Candy. Dir. David Slade. Vulcan Productions, 2005.A 14-year-old girl gets revenge on a man who took advantage of her.

Dark Water. Dir. Walter Salles. Touchstone Pictures, 2005.A woman wins a lengthy custody battle but cannot enjoy her time with her daughter because the two of them are haunted by a ghost.

The Plague. Dir. Hal Masonberg. Armada Pictures, 2006.All children fall into a coma one day, and ten years later, they wake up and are violent and zombie-like.

Wicked Little Things. Dir. J. S. Cardone. Millennium Films, 2006.New residents in a small town face danger from the children who died in a mine therealmost a century earlier.


The Grudge 2. Dir. Takashi Shimizu. Columbia Pictures Corporation, 2006.A young woman tries to fight off an evil force that fills its victims with rage.

The Omen. Dir. John Moore. Twentieth Century Fox Film Corporation, 2006.A man must face the reality that his son is the Antichrist.

666: The Child. Dir. Jake Perez. The Asylum, 2006.ddA news reporter adopts a little boy who was the lone survivor of a crash. She soon real-izes, though, that this boy is evil.

Joshua. Dir. George Ratliff. ATO Pictures, 2007.When his mother gives birth to a baby girl, a nine-year-old boy turns evil.

Whisper. Dir. Stewart Hendler. Deacon Entertainment, 2007.A little boy gets the better of his unsuspecting kidnappers.

Orphan. Dir. Jaume Collet-Serra. Dark Castle Entertainment, 2009.A couple adopts a girl who is not what she seems.

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Abjection, 22–24, 60–72, 93, 99–100,146–47

Abortion, 93, 96–98ACT UP, 61Addams Family, The (television 1964), 54eAddams Family, The (1991), 54eAddams Family Values (1993), 54sAdoption, 3–4, 90–91, 100, 104, 125AIDS, 69, 134Alice in Wonderland, 15ddAlien, The, 83, 89, 95, 114, 133Antichrist, 103–11Aries, Phillipe, 13

Babuscio, Jack, 33–34Bad Seed, The (novel), 10, 27, 32–e 36, 55Bad Seed, The (1956), 22, 25–e 27, 31–56,

70, 79–81, 94, 116Bakhtin, M. H., 22, 132Benning, Sadie, 53–54Benshoff, Harry, 24, 52, 67Berlant, Lauren, 28Bersani, Leo, 26, 82–84, 122Best, Joel, 137Beware: Children at Play (1989), 45, 115,y

117, 121, 125–26, 137–39Bildungsroman, 60, 107–8Blair, Linda, 58–59, 73–78Bloody Birthday (1981), 45, 127yBradbury, Ray, 18Braidotti, Rosi, 93–94Bronski, Michael, 35Brood, The (1979), 80, 92, 95, 123, 132, e

141Busch, Charles, 53Bussing, Sabine, 16, 20, 64, 124

Butler, Judith, 7, 24, 28, 34, 43, 65–66,69–71

Camp, 33–35, 44, 51–56, 77–78, 115–16, 129

CampBlood, 115–16Carrie (1976), 9, 57–e 58, 60–65, 107,

123, 136, 157Carroll, Noel, 22–24, 65Castle, Terry, 67Changeling, The (1980), 87–e 89Changeling fantasy, 10, 79, 82, 85–89Child abuse, 2–3, 10, 20, 23–25, 27, 70,

79–91, 99–103, 116–17, 138–39,159

Child collective, 55, 103, 114–42Childhood, 2–7, 13–30, 32–33, 36–47,

49–56, 59–61, 63, 91, 102–4,113–14, 118–21, 126–31, 135–40, 148

Child of Nature, The, 15–18, 68, 123Child-rearing, 39, 67, 81, 120, 137,

140–41Children, The (1980), 115–e 17, 126–30,

132, 138–39Children of the Corn (1984), 16, 115,

121, 125, 130–32, 139–40Children’s Decade, The, 113–14Child saving, 145Child’s Play (1988), 81yChuck & Buck (2000), 143–k 45Clover, Carol, 9, 63, 136Cobb, Michael, 27Cold War, 10, 18, 29, 40, 123–24, 137Corber, Robert, 69

Index

190 �� Index

Cowie, Elizabeth, 2–3, 33, 82, 114, 131,145–47

Creed, Barbara, 22, 59–67, 93, 121Curse of the Cat People, The (1941), 18eCuteness, 19, 32–49, 39, 127, 154

Dali, Salvador, 43–44Damien: Omen II (1978), 104, 107–I 8Death drive, 11, 28, 83, 115, 132,

146–47Demon, The, 15, 19–20, 40, 77Demon Seed (1977), 84–d 85, 92–95, 97,

122Destroyer, The, 15, 17–18, 59, 77, 127Development, 5, 23–27, 33–39, 50–51,

59–60, 74–77, 96, 105–11, 114–20, 128–32, 143–46

Devil Times Five (1974), 45, 121, 125eDisidentification, 26, 60, 78, 97, 151Dixon, Wheeler, 103, 110Dolls, 43, 54, 81Doty, Alexander, 23–24, 52Douglas, Ann, 20, 86–87, 150Douglas, Mary, 22, 65, 94Downs, Alan, 31–32Dreamer, The, 15, 17–18, 59, 127Du Bois, W. E. B., 34Dyer, Richard, 25, 35, 102, 129

Edelman, Lee, 11, 28–30, 83–84, 105,108, 113–15, 123, 132, 145–47

Education, 13, 39–41, 57–58, 75, 101,107, 120, 128–29, 137

Erikson, Erik, 118Eugenics, 50, 80–83, 95–96, 103,

119–23, 159–60Evans, Caroline, 64, 78Exorcisms, 62, 66, 68–72Exorcist, The (1973), 4, 17–e 18, 20, 23,

38, 54, 57–78, 89, 117–18Exorcist II: The Heretic (1977), 73–c 74Extraterrestrials, 92, 101–3, 139

Family horror, 8–9, 20–21, 33Family romance, 20, 86–87, 98Farmer, Brett, 151

Feral Child, The, 15–17, 59–61, 68, 77, 94–95, 123

Ferenczi, Sandor, 18, 35, 86, 151Fetal imaging, 94–95Firestarter (1984), 58rForlorn child, 87–90, 159Foucault, Michel, 27, 38, 71, 119–20,

129, 146Frankenstein, 10, 48, 98–99, 122Freaks, 54, 99, 134–35, 159–60Freud, Sigmund, 2, 9, 20–22, 25, 39, 71,

79, 86–87, 120, 151, 154, 157Futurity, 11, 19, 23, 27–30, 36, 47–51,

65, 83–87, 90–99, 103–9, 113–40, 144–47, 152

Gender, 22–29, 32–36, 37–38, 40–43,48–49, 51, 57–78, 92–99, 124, 160

Genre, 2–4, 17–24, 30, 33, 44, 57,64–65, 78–81, 87–88, 92, 99, 133–36, 149, 159, 161

Gilbert, James, 119, 124Good Son, The (1993), 19, 44–e 45, 81,

158Greene, Graham, 43–44Grosz, Elizabeth, 65, 91, 159Grotesque, 14–19, 22–23, 31–44,

50–51, 55–59, 64–65, 67–71, 113, 123, 130

Halberstam, Judith, 157Halloween (1978), 45, 105Hanson, Ellis, 29, 58, 69–71, 134, 157Heavenly Creatures (1994), 18sHebdige, Dick, 128Heffernan, Kevin, 20–21Hills, Matt, 68–69Hitler Youth, 14, 82, 103, 107, 137, 140,

144Holland, Patricia, 25, 36, 127–30, 135Home Alone (1993), 19eHomosexuality, 2–3, 6–11, 23–30, 35,

58, 67–68, 83, 96–97, 105–8, 129–35, 146

Index � 191

Horror film, 1–6, 20–24, 30, 32–34, 49,63–64, 67, 80–81, 92, 99, 109–10,113, 133–38, 150, 154, 156

Hypnosis, 68, 79, 101, 134–36

Incest, 54, 64, 67, 94Infanticide, 102, 108, 117, 121Innocence, 2, 7–8, 13–18, 22–28,

32–41, 44–51, 64–69, 74–77,102–6, 123–30

Innocent, The, 15–16, 38, 90, 126, 136Innocents, The (1961), 16, 18, 38, 45, e

103Inseminoid (1981), 92, 95dIt Lives Again (1978), 160–61It’s Alive (1974), 14, 84–e 85, 91–92,

95–100, 130It’s Alive II: Island of the Alive (1987),e

130, 160–61I Was a Teenage Werewolf (1957), 68f

Jackson, Chuck, 38, 42–44Jackson, Kathy Merlock, 63James, Alison, 14Jenkins, Henry, 6, 13–14, 121Juvenile delinquency, 8–10, 118–29, 137

Kelleher, Paul, 26–28Kincaid, James R., 2, 13–16, 41, 63, 121Kinship, 3, 11, 86–91, 114–16, 120–23,

135–42, 147Kristeva, Julia, 7, 22, 65, 93, 121

Labor, 15, 18, 39, 54, 86, 105–8, 126–29

Liminality, 5, 8, 21–26, 33, 63, 66, 94,105, 118–19, 134

Lord of the Flies, The (1963), 122–e 23, 128

Love, Heather, 60

Makeover, 75–76March, William, 10, 27, 32–36, 55Mask of seemliness, 36–45, 129–30Maternal gothic, 91–97

Maternity, 32–39, 46, 49, 59–69, 79–86, 91–97, 105–10, 122–23, 126

Matricide, 18Maturity, 26, 41, 74, 89, 107–8, 114,

128–30, 143–48Ma Vie en Rose (1997), 17eMayne, Judith, 23McCambridge, Mercedes, 67McCormack, Patty, 32, 43, 49, 54, 152McCullers, Carson, 134–34Medovoi, Leerom, 29–30Meet Me in St. Louis (1944), 45sMember of the Wedding, A, 134–34Menstruation, 63–64, 152Merrick, Lori, 127Miller, D. A., 110–11Mise-en-scène of desire, 2–3, 33, 82,

114, 131, 145–47Mizejewski, Linda, 55–56Momism, 80, 158Monstrosity, 1–5, 14–29, 34–37, 39–42,

48–50, 60–71, 79–85, 91–99,120–27, 132–38, 159

Montessori, Maria, 6, 36–37, 129Mulvey, Laura, 49–50Munoz, Jose Esteban, 147–48Murder, 20–23, 32, 40–45, 51–55,

87–90, 97–98, 104–10, 117, 122–28, 133, 137–39

Nature, 13, 15–17, 59, 68, 122–23, 130,132–34

Neville, Richard, 126, 128–29

Oedipus complex, 87, 98, 103–8Ohi, Kevin, 25, 151Omen, The (1967), 4, 38, 45, 73, 84–e 85,

91, 102–11, 121, 161Omen III: The Final Conflict (1981), 104, t

108–10, 121, 161Orphan (2009), 1–2, 18, 81, 85Orphanage, The (2007), 18, 88, 90–e 91Other, The (1972), 16, 88e

Pan’s Labyrinth (2006), 17hParanoid reading, 2–3, 64, 146–47, 149

192 �� Index

Paternal gothic, 85, 97–111Paternity, 50, 65, 85, 97–111Patriarchy, 21–24, 29–30, 34, 48, 61–65,

70–72, 88–93, 99–100, 117–18, 140Paul, William, 2, 10, 22–23, 38–40,

48–49, 63–65, 80–82, 138, 150Pedophilia, 43, 137Pedophobia, 2, 8, 33, 63–64, 70, 81–83,

100, 108, 116–17, 124, 153Performance, 6–8, 15, 31–56, 76,

126–27, 154Permissive childrearing, 21Peter Pan, 15, 17–18, 25–26, 90, 143Peter Pan complex, 26, 143Pet Sematary (1989), 45yPifer, Ellen, 14Play, 15, 18–20, 27, 31–49, 87, 114–18,

126–30, 143, 147–48Poltergeist (1982), 17tPossession, 5, 38, 57–78, 83, 92, 98–99,

118, 139–40Production Code Administration (PCA),

32, 47–48, 155Progeny (1988), 92y

Race, 4, 6, 27–29, 33–37, 42–44, 50, 55,59, 68, 102–7, 110–11, 121–23,159

Rai, Amit, 133–34Rebellion, 5, 15, 21, 29–30, 34, 53, 78,

108, 113–42Rechy, John, 60Rejection, 3, 24–25, 59–66, 79–90,

97–99, 108, 116–17, 128–31, 143–48

Reparative reading, 3, 21, 61, 83, 146–48Reproductive futurism, 28–30, 83–84,

105, 108–9, 115, 152Riviere, Joan, 34Romanticism, 13–14, 16–17, 59, 68,

106–8, 123Rose, Jacqueline, 15, 25, 41, 121Rosemary’s Baby (1968), 4–y 5, 91–97, 105

Sammond, Nicholas, 7, 47, 137Sanchez-Eppler, Karen, 27–29

Sedgwick, Eve Kosofsky, 2–3, 7, 50, 83, 146–47, 149

Shame, 18, 31–32, 83Shining, The (1980), 18, 31–e 32, 38, 88Shurlock, Geoffrey, 47, 155Sideways growth, 5, 27–28, 36, 55–56,

76–77, 90, 108, 115–18, 132, 137,146

Simmons, Jerold, 47Sinthomosexual, 108, 132, 147Sinyard, Neil, 2, 63Sobchack, Vivian, 21–22, 99–100Socioeconomic class, 21, 29, 40–42, 55,

92, 106–11, 124, 139–40Sontag, Susan, 35, 51–52, 129Space Children, The (1958), 18, 124, 141,e

161Spectatorship, 1–4, 9, 23–25, 33, 37–39,

49–65, 69–72, 77–78, 82–84, 96, 110, 114–15, 131, 138–40, 145–47

Staiger, Janet, 58Star image, 58, 76–78Steedman, Carolyn, 83Stockton, Kathryn Bond, 5, 26–28,

50–52, 60, 69, 117–18, 124,133–34, 146

Suddenly, Last Summer (1959), 51,r122–23, 130, 139, 161

Surveillance, 29, 38–39, 90, 114,118–23, 129–30, 136

Taboo, 2, 10, 22, 48, 58, 65–67, 89, 94, 122, 138–39

Temple, Shirley, 15, 19, 42–43, 54–55, 127, 154

Teratogens, 93–99, 159These Are the Damned (1963), 124–d 25,

130, 141, 161Tin Drum, The (1979), 143–e 48Tinkcom, Matthew, 129Tobias, Andrew (John Reid), 31–32, 37,

56To the Devil a Daughter (1976), 58, 76rTrickster, The, 15, 19–20, 40, 89, 127Tudor, Andrew, 4, 110, 133, 140Turn of the Screw, The, 16

Index � 193

Twilight of the Golds, The (1997), 85,e96–97

Twilight Zone, The (1959), 18e

Unborn, The (1991), 84, 92–e 94, 97, 161

Victor of Aveyron, 17Victorianism, 1, 13–14, 16Village of the Damned (1960), 5–d 6, 14,

19, 38, 84–85, 92, 101–3, 115–17,123–24, 131–40, 161

Warner, Michael, 6, 156Watcher, The, 15–16, 38–39, 90, 104,

106, 114, 126, 130, 135–36Weston, Kath, 141–42

Who Can Kill a Child? (1976), 6, 16, 45,?115, 117, 121–39

Williams, Linda, 135Williams, Tony, 21Wise Child, The, 15, 18–20, 83–89, 114,

136, 150–51Wood, Robin, 2, 4–5, 20–21, 105, 109,

115, 154Wylie, Phillip, 80, 158

Youth culture, 5, 15, 21, 29–30, 34, 53,78, 108, 113–42

YouTube, 68

Ziolkowski, Eric, 121Zombies, 17, 117, 125–26, 139–40

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