The Terrible Terrace: Australian Gothic Reimagined and the (Inner) Suburban Horror of The Babadook

Howell, Amanda

doi:10.1007/978-3-319-66676-1_9

Cited by 4 publications

(2 citation statements)

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“…One night, she murders their dog and tries to kill Sam, yet thanks to Sam's resourcefulness and affection, she manages to contain the monster by trapping it in the basement of their house. (Howell 2018;Quigley 2016). At the same time, some see the film as an example of transnational cinema that thematically and generically exceeds its national context (Balanzategui 2017) while others claim that it specifically addresses its location of production (Howell 2018;Still 2019).…”

Section: Home and The Babadookmentioning

confidence: 99%

“…(Howell 2018;Quigley 2016). At the same time, some see the film as an example of transnational cinema that thematically and generically exceeds its national context (Balanzategui 2017) while others claim that it specifically addresses its location of production (Howell 2018;Still 2019). In our discussions, we appreciate the validity of each interpretive path while structuring the discussion around issues of gender, domestic space, and domesticity.…”

Section: Home and The Babadookmentioning

confidence: 99%

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The Place of Women’s Filmmaking in an Interdisciplinary Architecture Course

Pinar

2023

Open Screens

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This paper explores the rich pedagogical potential of women’s filmmaking for interdisciplinary courses that explore the relations between cinema, architecture, and urbanism. While many courses on this subject tend to focus on white male filmmakers (e.g., Alfred Hitchcock, Jacques Tati, Stanley Kubrick, Fritz Lang), in constructing a new version of this elective, I aimed to extensively incorporate women’s filmmaking to the curriculum, especially opting for exemplary films that provide a rich basis to discuss the construction of gender and cinematic space in relation to one other. The course pays sustained, rigorous attention to women as filmmakers, textual subjects, and spectators while discussing topics including domesticity; borders and movement; screening space and spectatorship; cine-museology; national and transnational spaces; animated worldmaking; and digital realisms. Taking the classroom discussions on The Babadook (dir. Jennifer Kent, Australia, 2014) and A Girl Walks Home Alone at Night (dir. Ana Lily Amirpour, US, 2015) as its case studies, this paper considers how the use of women’s filmmaking in an interdisciplinary course allows students to explore diverse strategies of cinematic representation that deconstruct and reshape gender in connection to the cinematic fabrications of space.

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Section: Home and The Babadookmentioning

confidence: 99%