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| '''The Ghost is just a Metaphor - Kindinger - Analysis of Guillermo del Toro's Crimson Peak'''
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| - What is suggested here is that the real world and its social order are more threatening to a woman’s mind and body than the supernatural.
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| - The real horror, del Toro suggests, are not the ghosts but patriarchy, because it traumatises women and turns them into ghosts and monsters.
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| - Whether the Final Girl is a symbol for female emancipation has been discussed since Clover’s publication of ‘Her Body, Himself’, the article that inspired her monograph of 1992. While she acknowledges that the slasher is ‘a genre with at least a strong female presence’, she clarifies that thinking of the ‘Final Girl as a feminist development […] is, in light of her figurative meaning, a particularly grotesque expression of wishful thinking’. This ‘figurative meaning’ refers to Clover’s argument that:
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| The Final Girl is boyish, in a word. Just as the killer is not fully masculine, she is not fully feminine.
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| This gender transgression supposedly disqualifies the Final Girl from being an emancipatory figure within the rather misogynist slasher genre.
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| - She might choose to not participate in established rituals of femininity, yet this does not masculinise her. As Christian Knöppler argues with reference to Isabel Cristina Pinedo’s criticism of Clover, ‘if a female character has to be read as male when she is aggressive, there can be no female agency’.
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| - The slasher here ‘functions as a fantasy of female rage and an opening for feminist discourse because women are not only victims, but allowed to retaliate
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| - It is no coincidence that the plot is set at the turn of the nineteenth century, when film technology was invented: ‘with its ability to record and replay reality and its representation of images that resemble the world but as intangible half-presences, cinema has been described as a haunted or ghostly medium from early on.’ Del Toro stresses the ghostliness of ‘new’ media in the nineteenth century by referring to spirit photography and sound recordings that capture and recreate the past in the present, through images and sounds. Herewith he cites more contemporary movies such as Oren Peli’s Paranormal Activity (2007) and Gore Verbinski’s The Ring (2002) in which ‘ghosts inhabit contemporary technology’. As del Pilar Blanco and Peeren have argued with regard to these films, ‘the increasing ghostliness of new media influences the representation of ghosts in media’. In Crimson Peak, the ghostliness of old media demonstrates the continuity of media history and the horror genre.
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| '''The Uses of Enchantment'''
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| Many young people who today suddenly seek escape in drug-induced dreams, apprentice themselves to some guru, believe in astrology, engage in practicing "black magic," or who in some other fashion escape from reality into daydreams about magic experiences which are to change their lives for the better, were prematurely pressed to view reality in an adult way. Trying to evade reality in such ways has its deeper cause in early formative experiences which prevented the development of the conviction that life can be mastered in realistic ways.
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| p.51
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| Paardenmeisjes hahaha
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| Many girls of an older age group are deeply involved with horses, they play with toy horses and spin elaborate fantasies around them. When they get older and have the opportunity, their lives seem to rotate around real horses, which they take excellent care of and seem inseperable from. Psychoanalytic investigation has revealed that over-involvement in and with horses can stand for many different emotional needs which the girl is trying to satisfy. For example, by controlling this powerful animal she can come to feel that she is controlling the male, or the sexually animalistic, within herself. Imagine what it would do to a girl's enjoyment of riding, to her self-respect, if she were made conscious of this desire which she is acting out in riding.
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| p.56
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| '''The Rhetoric of Cinematic Improvisation - Virginia Wright Wexman'''
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| On the stage, as opposed to film, the demands of public improvisation are readily apparent. The audience shows its responsiveness to what is happening by reacting to the performance as it is in progress and often by actively participating in it. Movies, however, lack this active, ongoing relationship with their audiences, and as a result filmmakers face an increased danger of lapsing into private rather than public improvisation. At its worst, this tendency makes audiences feel like outsiders at a private party or spectators at a pointless exercise in reality. We may be irritated by mumbling, incomprehensible dialogue and indecipherable inside references to the personal lives of the movie's cast and crew.
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| p. 3/4
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| As these examples indicate, films that employ a great deal of improvisation are more dependent on a clearly defined narrative structure than are more traditional productions; for the lifelike sense of the unexpected that titillates audiences during moments of improvisation must be tempered by an awareness of predictability, a sense of intelligible form that underlies the vagaries of spontaneity.
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| p. 7/8
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