Ever since the horror genre has established, it has fascinated viewers around the world. Despite (and to some degree also because of) its controversial status, the horror film has gained much popularity. At the same time it has also been the target of critics. Especially in academic writing the horror film seems to have been neglected. Nonetheless, the horror film has this one peculiarity that other genres don't have. As Rick Worland correctly stated, "A given phase of the horror film often reveals something about the times that produced it, exposing anxieties and outright fears of those days, though doing so in a roundabout or thoroughly unintentional way." (Worland 55-56). Thus there have been many approaches on the horror film and the cultural fear in it. Among other interpretations, the theory of the cultural fear of war has become significant. The connection between war and the cultural fear is definitely not arbitrary. To a great part, this expression is the product of the fearful events that occured in western society.
But the content of most horror movies not only indicates the fear of events that took place. these expressions in the horror film have often been understood as metaphors of the fear of a social reconstruction, hence as the fear of things to come- Wars have always existed, and the horror genre has not, at least not as aunique genre. Compared to other genres in literature, the gothic novel - nowadays recognized as the predecessor of the horror genre - came about very late. The emancipation of women, being an important factor in the social construction of modern times, has also established very late. Is this just a coincidence, or does this indicate a stronger connection between cultural fear and the emancipation of women? With respect to that, this term paper will specifically deal with two of Tod Browning's most popular movies: "Freaks" and "Dracula". The first part of this term paper will consider the expression of fear in horror movies as an unconscious reaction to the emancipation of women. Particularly Pierre Bourdieu's ideas in Masculine Domination and Norbert Elias' schemes in The Established and the Outsiders will help to understand the impact of the emancipation of women on the horror genre. In the two chapters that follow, Bourdieu's and Elias' ideas will be applied on "Freaks" and "Dracula"...
Table of Contents
1. Introduction
2. Horror and the Horrifying Emancipation of Women
3. Power Relations in “Freaks”
3.1. Similarities and Differences of Women and Monstrosities
3.2. Social Discrepancies in “Freaks”
4. Power Relations in “Dracula”
4.1. Fear and Power in “Dracula”
4.2. Masculine Rationalism, Female Submissiveness and Animalism
5. Conclusion
Objectives and Topics
This academic paper examines the connection between cultural fear in horror cinema and the social reconstruction surrounding the emancipation of women. By applying the sociological frameworks of Pierre Bourdieu and Norbert Elias to Tod Browning’s films "Freaks" and "Dracula," the author explores how these works reflect, reinforce, or challenge traditional power relations and gender roles.
- Analysis of horror as an unconscious reaction to women's emancipation.
- Application of Bourdieu's "Masculine Domination" to film narratives.
- Use of Elias' "Established and the Outsiders" to interpret social status in horror.
- Comparison of gender dynamics and power structures in "Freaks" and "Dracula."
- Investigation into the influence of production codes and historical context on film reception.
Excerpt from the Book
3.1. Similarities and Differences of Women and Monstrosities
As the title of the film already indicates, the main focus of this movie is on human deformities. They are depicted as victims of people who seem to be established because of their physical constitution. However, not only the freaks play a role that was unusual for a Hollywood film. Neither are women in their traditional inferior role. If we consider Bourdieu’s ideas, the freaks in “Freaks” have their social position because of the same reason why women have theirs, namely their physical constitution. The social positions appear as natural as the constitution of our bodies do, because the social construction is structured according to this constitution.
Mary Russo suggested that the terms “female” and “grotesque” “threaten to become a tautology” (The Female Grotesque, Russo 12). If we consider this a tautology, “Freaks” appears as a movie that fosters feminism, for the grotesque is definitely fostered in the film. In “Freaks”, the viewer consciously or unconsciously gets an impression of an equation of the terms “female” and “grotesque”. This is quite noticeable if we compare two scenes: As Venus first meets Phroso, she asks him in a sarcastic way: “Women are funny, ain’t they?” Only a few scenes earlier, Hans looks at Cleopatra and asks her peevishly: “Are you laughing at me?” Both, woman and freak are here depicted as humans who are tired and perhaps afraid of “normal” humans who look at them as if they were jokes. This connection only reinforces Russo’s idea of the equation.
Summary of Chapters
1. Introduction: This chapter contextualizes the horror genre as a reflection of societal anxieties and outlines the research objective of analyzing two Tod Browning films through a sociological lens.
2. Horror and the Horrifying Emancipation of Women: The chapter explores the correlation between the rise of the horror genre and the historical timeline of women's emancipation, using theoretical frameworks to explain these social changes.
3. Power Relations in “Freaks”: This chapter examines the depiction of human deformities and women, focusing on social discrepancies and the challenging of traditional gender roles within the film.
3.1. Similarities and Differences of Women and Monstrosities: This section investigates the thematic equation between the "female" and the "grotesque," arguing that the film implicitly links both groups.
3.2. Social Discrepancies in “Freaks”: This part analyzes how the film ruptures and reinforces sociological schemas regarding power, dangerous acts, and social standing.
4. Power Relations in “Dracula”: This chapter addresses the commercial success of "Dracula" and how its power structures mirror existing western societal norms.
4.1. Fear and Power in “Dracula”: This section discusses how the vampire's mystery and alienation function as vehicles for fear and how religion acts as a symbolic counter-force.
4.2. Masculine Rationalism, Female Submissiveness and Animalism: The author analyzes the interplay between rational male figures and submissive female characters, as well as the depiction of evil as an animalistic threat.
5. Conclusion: The paper concludes that the horror genre is a site where fears regarding social reconstruction are eternalized, and suggests that sociological applications to film analysis provide significant academic value.
Keywords
Horror, Tod Browning, Freaks, Dracula, Feminism, Emancipation, Pierre Bourdieu, Norbert Elias, Social Construction, Gender Roles, Masculine Domination, The Established and the Outsiders, Sociology of Film, Alienation, Power Relations
Frequently Asked Questions
What is the core subject of this paper?
The paper investigates the relationship between the horror film genre and the emancipation of women, focusing on how cultural fears of social change are expressed in cinema.
What are the primary thematic fields?
The central themes include gender theory, the sociology of power relations, historical social movements, and film analysis within the horror genre.
What is the main objective of the research?
The goal is to understand how Tod Browning’s films "Freaks" and "Dracula" reflect the power dynamics between the genders and the sociological concept of "established" versus "outsider" groups.
Which scientific methods are employed?
The author applies the sociological theories of Pierre Bourdieu, specifically concepts of masculine domination, and Norbert Elias' framework regarding established and outsider groups to film criticism.
What topics are covered in the main section?
The main section covers the parallel development of feminism and horror, detailed analysis of character dynamics in "Freaks" and "Dracula," and the use of visual metaphors to represent power and evil.
Which keywords define this work?
Key terms include horror, feminism, social construction, power relations, and sociological film analysis.
How does the author interpret the success of "Dracula" versus the initial rejection of "Freaks"?
The author argues that "Dracula" succeeded because it adhered to conventional power norms and used "eroticism in disguise," whereas "Freaks" was too progressive and directly challenged societal norms regarding the "outsider."
Why does the author consider the role of Cleopatra in "Freaks" significant?
Cleopatra represents an unconventional, powerful woman who challenges traditional submissiveness, leading the author to analyze how her depiction is framed as "evil" within the narrative.
How is the "animalism" in "Dracula" linked to gender?
The author suggests that animalism is a metaphor for threats to social order, where masculine rationalism is used to control female characters who are often depicted as silent, submissive, or animalistic.
- Quote paper
- Shahab Uddin (Author), 2008, Masculinity, Femininity and other Curiosities in Tod Browning's 'Freaks' and 'Dracula', Munich, GRIN Verlag, https://www.grin.com/document/136785
