At the end of 2015‘s The Witch, isolated and beaten protagonist, Thomasin, ultimately rejects her puritanical upbringing to become a witch, accepting the invitation of the Devil (in the guise of the family’s goat Black Philip). This essay will discuss Thomasin’s sexual deliverance in terms of her turning away from the authoritarian ‘Law of the Father’ towards female liberation that comes in the form of the Witch. Thomasin transitions from girl to woman, but does not want to do so in (...) the restrictive Puritan fashion where patriarchy and oppression rules. She becomes a woman by embracing her sexuality in the figure of the witch and Black Philip as the figure of lust helping her become free. Western folklore posits the goat as a symbol of fertility, independence, and lust; Black Philip is a figure who represents a connection to wild desires. Therefore, Black Philip becomes not only a physical representation of the devil, but also a symbolic representation of Thomasin’s sexual desire. Drawing on theories of the monstrous-feminine (Creed, Kristeva, Arnold), the symbolism of folklore and Freud’s Electra complex, this work argues that, despite its message of feminine empowerment, The Witch cannot fully reject or escape patriarchal discourse. (shrink)

Ari Aster’s 2019 folk horror film Midsommar, which enjoyed both critical and popular success, features a bright colour palette and an eerily playful tone alongside a dark narrative exploring complexities of grief, depression, and bad relationships. The remote Swedish community to which protagonist Dani, her boyfriend, and his friends travel for a mid-summer festival is designed around beautiful objects, collective experiences, and rituals that foreground communal emotions, all of which contrast the technologically mediated communications foregrounded at the film’s outset. In (...) fact, this community offers meticulously constructed antidotes to the loneliness of the modern world, and to Western ideals of masculine emotional distance…but at a cost. This paper examines the intersection of emotion, community, and gender in Midsommar, using the concept of affective design – usually associated with technology design – as well as work on group-based emotions, to interrogate the film’s vision of a community that challenges gender norms and the boundaries of emotional experience. Through the depiction of ingroup boundary-policing, stark contrasts between visions of masculinity, and lush visions of aesthetic experience and emotional release, Midsommar offers a series of convincing compensatory mechanisms that invite viewers, along with the main character, to temporarily compromise morality for the sake of belonging. (shrink)

In 2003 Japanese folk horror game Fatal Frame II: Crimson Butterfly directed by Makoto Shibata, the protagonist bears witness to an ancient tradition of a community linked to the ritual sacrifice of twins, which results in the female victim becoming a malevolent spirit. Gradually the player, as Mio, equipped with the Camera Obscura, transitions from observer to participant in the cycle of events that results in sacrificing their own twin sister. This article focuses on establishing the game within the folk (...) horror subgenre, before examining three female characters: Mio, the protagonist, who shifts from witness/voyeur to participant; Mayu, their twin, who transitions from unwilling to willing sacrifice; and Sae, the victim of the original ritual and antagonist. In Fatal Frame II, the Camera Obscura, which captures the supernatural world, is the lens through which past and present blur as the player is confronted by the twisted beliefs of the village. Through analysis of the game’s narrative, ludic elements, and visual aesthetics, I examine how these roles fit within the context of folk horror, gender and Japanese folklore. (shrink)

There is surprisingly scant research on queer subtext in The Wicker Man (1973). I suggest Lord Summerisle, who was portrayed by Christopher Lee, is a queer-coded villain. On the night Willow MacGregor deflowers an adolescent named Ash Buchanan, Summerisle observes a pair of copulating snails, quotes Walt Whitman, and envisions Howie alone in his bedroom. Most terrestrial snails are considered hermaphrodites and liking Whitman, who was probably queer, was historically a code for homosexuality. Summerisle recites Whitman’s poem celebrating animals that (...) ‘do not lie awake in the dark and weep for their sins’ or make him ‘sick’ discussing their ‘duty’ to the Christian God. The scene implies Summerisle wishes to deflower Howie the way Willow deflowers Ash, and mate with him like the snails. Summerisle resents Howie because his conservative Christianity prevents them from becoming lovers. Summerisle wants to believe Howie will reincarnate as his apple crops; he and his followers intend to consume his flesh and drink his blood in the form of fruit. Like Dracula, whom Lee was famous for playing, Summerisle seeks to penetrate Howie with his teeth in a metaphor for sex. (shrink)

Am I pretty? A simple question that epitomises both beauty and vulgarity in its monstrous representation of feminine embodiment. In this work, I look at the 2007 Japanese Horror film Carved: The Slit Mouth Woman directed by Koji Shiraishi and its relation to the way in which it the monster Kuchisake-Onna presents the idealised role of motherhood in Japan today. Through this critical examination of the film, we see how communities establish social order and gender scripts of the feminine within (...) the media, perpetuating hegemonic normalised roles through the monstrous feminine. This work looks at the Japanese urban legend of Kuchisake-Onna and compares it with the movie monster Carved as it projects forms of femininity and motherhood. By cross-referencing the telling of the legend with popular cinema we can see how media influence takes on a broader context towards the gendering of woman. In both the legend and the film, we see how women seek the approval of self and sovereignty, which is demonised, by revealing herself through sexual autonomy. (shrink)

On 11 March 2020, the World Health Organization declared COVID-19 as a pandemic. The consequences of the twenty-first century’s biggest public health challenge has triggered an overall slump to all...

Bandung is one of Indonesia’s most prominent metal music bases, even in Asia, with a growing variety of metal subgenres (Barendregt & Zanten, 2002; Baulch, 2003; Sen & Hill, 2000; Wallach, 2008). T...

I have written this article as a modest response to some of the criticisms of the ‘event’ that is at the centre of Alain Badiou’s thought and is the most salient concept. By addressing Badiou’s con...

Confronted by contemporary neoliberal crisis, apparently rooted in economistic, or even nihilistic worldviews, the task for the [sociologist] is not simply to impose … critique from without, but to...

1. The maritime community has strong masculine roots. According to the International Maritime Organization,1 women today represent only 1.2% percent of the global seafarer workforce. Most of those...

We must suffer, suffer into truth. –AeschylusThe outbreak of SARS-CoV-2 in late 2019 along with the ensuing shutdowns and scramble for a vaccine provided unprecedented soil for various conspiracy t...

In Alexandre Kojève’s lectures on Hegel, the unfolding of the (philosophical) concept, from the desire for recognition to the (politically) universal and (socially) homogenous state (UHS), is broug...

This article explores the duality of law with regard to the LGBTQ+ community, examining both its historical regulation of non-heteronormative genders and sexualities and its contradictory potential to transcend such regulations over time. Situated within a postcolonial analytical framework, it undertakes a thematic overview and narrative appraisal of research materials, drawn from a diverse array of social science disciplinary intersections, spanning the timeline from 1990 to 2022, that expounds on the intricate and overlapping imbrications between law and the LGBTQ+ community (...) in India. It was observed that the extant academic deliberations on the subject are dispersed across disciplinary boundaries within the larger scope of humanities and social sciences, necessitating an integrative approach. By delving into the historical antecedents of the subject matter, the current findings are situated within four domains, namely: i) the colonial nexus; ii) the postcolonial public redress; and iii) other domains of sustained legal contestation, such as healthcare, workplace, media censorship, and the fraught terrain of identity and legal lexicon. (shrink)

Since their enslavement in the U. S. Black Americans have longitudinally suffered some of the most heinous crimes against humanity. Yet, despite cultural policies intended to discriminate against, marginalise, oppress, and subjugate them, Black folx have unfailingly demonstrated remarkable creative resilience. This conceptual article explores three research questions: (1) in what ways have exclusionary U. S. cultural policies discouraged Black Americans’ cultural engagement, (2) how have Black Americans responded to exclusionary cultural policies in the U. S. and (3) what longitudinal (...) impacts might exclusionary cultural policies have on Black Americans’ creative and expressive lives, and the U. S. creative sector? This article used Critical Race Theory (CRT) and interpretive policy analysis to identify the ways in which racism has and continues to shape Black Americans’ creative and expressive lives. I conclude this article by making the case for a research agenda that comprehensively investigates Black Americans’ cultural engagement as well as other historically and continuously oppressed groups. (shrink)

The concept of ‘immunity’ is the central notion in Roberto Esposito’s assessments of modern politics. Understanding modern politics from Esposito’s perspective is synonymous with understanding the concept of immunity. However, if one looks at modern political theory, one finds that a number of concepts such as social contract, state/sovereignty, person, property, and liberty stand out as central concepts rather than a single concept. This article argues that these concepts, which have different meanings, are part of one and the same logic, (...) and that it is possible to conceptualise this logic around ‘immunity.’ For this reason, this article proposes, first, to consider the concept of ‘immunity’ as a concept that expresses the logic to which these concepts belong. Second, it argues that the concept of immunity allows us to see the continuity between modern politics and contemporary political tendencies. Based on this argument, the article claims that Esposito increases the explanatory power of Michel Foucault’s understanding of biopolitics, which is insufficient to explain the logic of the transition from life-protective to life-hostile activities in politics. The article concludes that ‘immunity’ provides a conceptual key to understanding the possibility of totalitarianism in biopolitical times from Nazism to the COVID-19 pandemic. (shrink)

For centuries, the British royal family has been the subject of books, articles, broadcast media, and digital communication. The addition of social media platforms has further increased the attention of the royals. Each of the family’s official social media sites have large numbers of followers around the world. The present study uses Goffman’s Presentation of Self to qualitatively examine how the current British royal family portrays itself visually via its official Instagram account. An analysis of two years of posts on (...) the social platform provides a glimpse of how the family works to maintain its image through a highly popular social media platform. Results indicated the presence of three main themes: Queen as the Head of the Monarchy, Honoring the Past, and The Working Royalty. This study offers a means of understanding the importance of visuals in conveying the royal family. (shrink)

The paper attempts to explore notions of public-private dichotomy with reference to collective agency and inclusion. It looks at a women’s shelter run by a missionary wife Julie Gundert of the Basel Mission in nineteenth-century Malabar. The missionaries played a key role in the introduction of printing and the development of a modern public sphere in the region: a space, nevertheless, restricted to men from the educated elite classes. Julie’s shelter, meanwhile, provides an alternate cultural space where women, especially those (...) from the excluded communities, the disabled, the abandoned and the lowest classes and castes could come together. The shelter is seen as a location of intimate and privatised cultural contact radically different from that practised in the formal, restrictive sites of the emerging public sphere; a space where subaltern cultures challenged the status of the visible public sphere as the key platform for social-cultural inclusion and agency. (shrink)

As a point of departure for reconsidering the “troubled concept” of postcolonialism, Stephens proposes a cultural analysis in which Communication Studies, ethnographic approaches, and transnational Writing Studies are on speaking terms. This revisioning is routed through an aspirational “reclaiming” of communication, which would a) practice Bazerman’s ”disciplined interdisciplinarity”; b) use the positionality of what anthropologists call ”halfies.” Stephens recounts instances of ”editorial bullying” in which U.S. editors project postcolonial theory onto all Puerto Rican contexts. He then surveys recent Marxist critiques (...) of postcolonialism. Finally he distills Mignolo's arguments for three openings leading away from essentialized, binary versions of postcolonial theory, and towards more historically grounded, ethnographically oriented approaches such as decoloniality. (shrink)

One component in the vote to leave the European Union was a nostalgic image of Empire and the assertion by Brexiteers like Boris Johnson that after Britain had left the EU new trade links would be made with countries who were members of the Commonwealth, countries that Britain had previously governed as colonies. The foundation for this idea was the understanding that Britain’s governing of its colonies had been benign and, indeed, that British control had brought with it the benefits (...) of civilisation. This view of the British empire was pervasive in the UK. This article focuses on the sitcom As Time Goes By in which the male protagonist, Lionel, is writing a book about his time in Kenya in the 1950s and 1960s. Everybody who reads the ms considers it boring. Yet Kenya during those decades was subject to a grass-roots uprising against the British colonists known as Mau Mau and Kenya was granted independence in 1963 by which time large numbers of white settlers had left the country. The portrayal of Lionel’s book as boring elides this history and reinforces the perception that British colonialism was well received by the indigenous population. (shrink)

Celebrity studies is an expansive and expanding field in European and American scholarship. Unfortunately, Africanist scholars have paid limited attention to this significant branch of scholarship. Drawing from varied secondary sources, including audio-visual materials, newspaper articles and journals, and books in the fields of celebrities and development, I examine Nigerian celebrity philanthropy in the age of internet technology. I argue that Nigerian celebrity philanthropy, given its mediatised nature and impact on its recipient, is a palliative measure to systemic and structural (...) crises of poverty. I show that this individualistic effort only gives temporary respite for some of its recipients while others are left even worse off after their encounters with celebrities helping. My research sits at the crossroads of multiple fields in the humanities and the social sciences and offers a new direction for celebrity studies in the global South. Future research may examine individual Nigerian celebrity philanthropy while centring on gender, class, education, ethnicity, religion, and location in celebrity humanitarians in the global South, particularly in Nigeria. (shrink)