Raina Haig 162618 MA Critical Media and Cultural Studies

Approaches to the Other in Science Fiction and Horror Films Course code: 15PANH043

The Spectre of Freud: Nature of the Other in Screen Horror

Word count: 5,094

The Spectre of Freud: Nature of the Other in screen horror

Psychoanalysis, just one of a range of possible theoretical approaches to the Other in screen horror, has, to date, dominated this area of film studies. Furthermore, in the task of analysing the nature, function and effects of screen horror texts, the place of Sigmund Freud, founder-father of psychoanalysis, has been kept open. In this exploration of the ontology, or nature of the Other in screen horror, I re-discover why Freuds thinking continues to figure, almost a century later, in relation to this question. I return to and discuss Freuds theory of unheimlich, sketched out in his 1919 essay, The Uncanny. I argue that Freuds idea of unheimlich continues to prove useful in accounting for the nature of the Other in screen horror. Freud proposes that aesthetic depictions which arouse horror constitute a frightening reemergence of repressed, hitherto surmounted, unconscious beliefs, which form an innate aspect of the human psyche. My conception of the Other in screen horror places this notion at its core.

I consider whether and in what ways Freuds work might need to be supplemented and which approaches could be helpful, to describe the object of study more fully. I discuss Jacques Derridas concepts of spectrality and hauntology in connection with the post-modernist idea of Self and Other as non-essential and subject to change. Further, following film theorist Steven Schneider, I propose that surface depictions of the screen horror Other are contingent upon the socio-cultural specificities of their

production context. I conclude that my discussion so far creates space for the case study undertaken in the second part of my essay.

I seek to test the emerging description of my object of study through an interpretive analysis of a screen horror text. To this end, I present an analysis of A Spectre Calls, a Halloween murder mystery, published in 2011 on YouTube in 4 episodes, with a duration of twenty minutes in total. I position this text as belonging to a number of sub-categories of the horror genre. A Spectre Calls is a community rather than a commercial production which, it may be argued, is not an important screen horror text. In addition, I have a privileged knowledge of the production context, and it could be objected that this may present problems of objectivity. I argue, however, that it is useful to try theory not just on commercial films, to test it more thoroughly. Moreover, my knowledge and lived experience of the texts context of production enables and qualifies me to contribute an ethnographic perspective, in order to shed light on textual processes relevant to my argument that the surface nature of the Other in screen horror is contingent upon the socio-cultural context of its production.

To sum up, my proposition is, firstly, that the nature of the Other in screen horror is a re-emergence of repressed mental material; secondly, that its surface depiction is changeable and changing, subject to socio-cultural forces. Thirdly, I seek to prove this definition through the textual analysis of the specifics of a new screen horror text, A Spectre Calls. I conclude, my case study further proves that Freuds place in discussions of the screen horror Other is justified but his idea requires supplementation.

Freuds idea of the unheimlich

It is important to revisit Freud because so many psychoanalytic accounts of the nature and function of horror, and of the horror effect, are founded in Freuds theory of unheimlich as the frightening re-emergence of repressed, hitherto subdued aspects of the psyche. I suggest Freuds idea of unheimlich is useful in providing a core approach to understanding the nature of the Other in screen horror. In the following paragraphs, I outline Freuds view that a depiction of the unheimlich is something that 1. arouses feelings of lingering uncertainty and fear in the reader, 2. emerges from a hidden place, 3. touches residues of repressed, surmounted belief within us, 4. is at once familiar and unfamiliar.

Freud illustrates the idea of unheimlich as uneasiness with the example of the living doll, a character who is at once alive and inanimate. The combining of attributes from two distinct domains, in one character, is common in the horror text, and I discuss this further in my case study of A Spectre Calls, below. Freud cites Jensch who describes,
In telling a story one of the most successful devices for easily creating uncanny effects is to leave the reader in uncertainty whether a particular figure in the story is a human being or an automaton and to do it in such a way that his attention is not focused directly upon his uncertainty, so that he may not be led to go into the matter and clear it up immediately. (2003: 5).

This description of the uncanny effect persists in the screen visual effects industry, where the term uncanny valley refers to a particular point, in combining live action 4

and animation elements, when it is uncertain whether a figure is live or animated. The characters in my case study are not animated, but do present and combine attributes belonging to two distinct domains e.g. natural/supernatural, alive/dead, normal/abnormal, real/unreal. Freud suggests the term unheimlich is close to feelings of dread and horror, a more intense experience than Jentschs idea of uncertainty. Freud links the term uncanny or unheimlich with the term horror: It [unheimlich] is undoubtedly related to what is frightening to what arouses dread and horror (2003: 1) So, one of the qualities of the unheimlich is that it arouses fear.

Freud, then, homes in on the use of unheimlich to mean something that emerges from hiding, in a discussion of literary uses of the term. Freud quotes Shelling, observing, According to him [Shelling], everything is unheimlich that ought to have remained secret and hidden but has come to light. (2003: 4). What is hidden? Freud argues that every individual evolves, surmounting the narcissism of childhood, and he equates this narcissism with an ancestral stage of evolution characterised by animistic beliefs. [E]verything which now strikes us as 'uncanny' Freud proposes, fulfils the condition of touching those residues of animistic mental activity within us and bringing them to expression. (2003: 8). This, he asserts, makes sense of Shellings bringing something hidden to light.

Freuds key proposition is that the uncanny is an effect of repression: [T]his uncanny is in reality nothing new or alien, but something which is familiar and old-established in the mind and which has become alienated from it only through the process of repression. (2003: 14). This, according to Freud, explains why the uncanny is both unheimlich and heimlich, at once familiar and unfamiliar for the reader or spectator.

Returning to film studies, various theorists, such as Carol Clover, Barbara Creed and Robin Wood, have applied Freuds ideas in analyses of the Other in screen horror texts. Steven Schneiders idea of monstrosity constitutes one instance of how Freuds work has been employed, and supplemented. Schneider defends Freuds idea of the Other as the return or re-emergence of surmounted beliefs. He equates Freuds use of the uncanny with the term monster or monstrous. He repositions cinematic representations of the monster as conceptual metaphors, in the Lakoffian sense. That is, they are more than rhetorical metaphors. They exist in the spectator as well as on the screen, arising from deep within us, shaping our perceptions and determining our responses. We need to re-experience the monstrous, Schneider argues, to keep in contact with this unconscious, repressed aspect of ourselves, in the face of socio-cultural changes. (1999: 3). However, Schneider goes further, explaining how surface depictions of the cinematic monster vary according to the socio-cultural context of its production. For Schneider, both are true, the universal nature of the monstrous, and the contingent nature of its particular depictions: [T]he metaphorical nature of horror film monsters is psychologically necessary, their surface heterogeneity is historically and culturally contingent. (1999: 3).

To conclude, Freuds idea of the unheimlich is of a hitherto repressed aspect of ourselves, that re-emerges, that feels at once familiar and unfamiliar, and that causes in us feelings or a state of fear and dread. This idea has been widely influential in the field of screen horror studies, leading film theorists such as Schneider to propose the screen horror Other is an ontological aspect of being

human. It is core to my own claim that the Other in screen horror is a form of a hitherto repressed fear.

Schneiders idea that the screen horror Other has a dual nature raises further questions: First, if Freuds notion of the uncanny, or Schneiders monstrous is an essential and universal aspect of human experience, how can it be at once both essential and non-essential? I shall now turn to post-modern discourse, where notions of Otherness are inseparable from notions of Self, to begin to account for the changing and unfinalisable nature of representations of the Other in screen horror, This is to support my argument that surface depictions of the screen horror Other are constrained by production context, which I shall seek to prove by analysing a specific, situated text, in the second part of this essay.

The post-modern Other and Derridas spectrality/hauntology concept

Post-modern discourse destabilises essentialist notions of the Other. For thinkers such as Foucault and Derrida, the Other is what lies beyond the limits of Self and is what in fact defines Self through the constraints it places on Self. Furthermore, though the categories of Self and Other are fixed in a binary oppositional relationship, the particular attributes of each part of the binary system are changing and changeable. In this discussion of the nature of the Other in screen horror, it seems fitting to invoke Jacques Derridas ideas of spectrality and hauntology. Derrida helps further this discussion by showing how aesthetic

representations of the Other are unfinalisable. His approach is non-psychoanalytic, and will help us make sense of Schneiders idea that the screen horror monstrous is at once psychologically universal and socio-culturally specific. In the following paragraphs I present Derridas idea of the spectre or ghost or trace as a kind of ontological reality whereby each part of a binary pairing is haunted by the other. This idea helps us to escape the bounds of psychoanalysis, to view the object of study as something discursive and ontologically textual, something which Derrida says is never purely itself, and which changes according to context.

In Spectres of Marx (1993), Derrida coins the terms hauntology and spectrality, asserting one part of any binary opposition carries the ghost of, or is haunted by, the other. Derridas spectre or ghost replaces the idea of an essential presence /absence with the notion of an ontological undeadness. In terms of time, Self, (the present) is haunted by aspects, or ghosts of the past, or future. The real is haunted by the unreal, what is familiar by the unfamiliar etc.

Derrida points out that the very concept of Being is always haunted, not in the sense of the past returning as a kind of return of the repressed, but rather in a structural sense. The origin of anything, ontology itself, is always spectral, is always repetitions first and last time. Being always carries the ghost within itself, in the sense of a structural openness, as Colin Davis points out. As a conceptual metaphor, Derridas spectre or trace is useful in considering the nature of any aspect of a text or its production (Davis,: 2011). It is useful here, because it speaks to textuality per se, rather than to a texts psychological content or effect. We need to differentiate these two domains, to understand Schneiders idea that the screen

horror Other or monstrous is, simultaneously, psychologically innate and contingent in its surface depictions.

To sum up, Derridas ideas of trace and haunting help us to recognise the openness of each part of the Self/Other binary system. Furthermore, his attention to textuality enables us to think in two ways at once, about textual elements, and about the screen horror Other in particular: On the one hand, we can agree with Freud and his followers that it is a universal aspect of the psyche that arouses feelings of horror. On the other hand, we can think about the Other in terms of textual undeadnesses, spatial and temporal. We need, next, to situate and test the combination of ideas I have developed to account for the screen horror Other, to explore how far my proposition might fit, in the case of a particular screen horror text.

Part Two: Case study: A Spectre Calls

In this part of my essay I present an interpretative analysis of A Spectre Calls. This study enables me to examine and to provide further evidence supporting my proposition, that the Other in screen horror is a re-emergence of innate, hitherto subdued human fears, and that its representation in a particular film is marked by and contingent upon specific socio-cultural factors connected with the context of production.

First, I observe in what ways the text can be classified as belonging to the horror genre. In addition, I consider the possible functions of horror, and horror sub-genres, to help position A Spectre Calls as a horror text. Next, I consider how the text utilises Halloween settings, iconography and characterisations to express fears about the socio-cultural context of its production. A Spectre Calls was produced by a group of psychiatric patients and ex-patients in a series of workshops held at North Camden Recovery Centre (NCRC), an NHS psychiatric day treatment facility. I initiated and led the series of workshops that culminated in the production. I argue that the text is hegemonised by its production context, and expresses what Freud, in The Uncanny, thinks of as a fundamental human fear, that of being buried alive. Further, according to my interpretation, this fear is marked in the text by a fear that is specific to the socio-cultural context of the psychiatric hospital. My key proposition is that the Other in A Spectre Calls is a system of clinical authority and instrumentation that can, and sometimes does get things wrong for patients. This interpretation is founded upon, and constrained by assumptions built into the proposition laid out in the first paragraph of this introduction.

To conclude, my case study findings support my argument, that representations of the screen horror Other are configurations that mark out the boundaries of the human and the non-human, or, the socially acceptable and the anti-social or monstrous. Further, these depictions articulate fears that are marked by the specific socio-cultural context of their production.

10

2.1 A Spectre Calls: text and genre

The first task is to position A Spectre Calls is a gothic horror text. I consider the series use of the Halloween trope. Next, I position the protagonist as a gothic construction. I look at the texts principal theme, Undeadness. Further, I place the text within a number of horror sub-genres, and consider how it fulfils the functions of horror. Finally, I show how the domain of Self is characterised by the perspective of the patient, whilst the domain of Other belongs to the world of the clinician. In this, I conclude, the narrative is specific to the socio-cultural context of its production.

In A Spectre Calls, settings, characterisation, props and costumes reproduce the gothic trope: Set at Halloween, the production uses gothic iconography (spiders, crow, gravestones, skull), settings (graveyard, witchs cavern) and characters (zombie, witch, corpse, Egyptian mummy). These are familiar elements in the screen horror canon, designed to arouse uneasiness and fear in the viewer.

The protagonist, Detective Inspector Knacker Of The Yard, is a maverick detective, a familiar figure in the Victorian gothic horror story. A Spectre Calls Part One opens in classic gothic storytelling style, narrated by Knacker. The effect of his words is heightened by suspenseful music and sound effects, establishing a classic Victorian gothic atmosphere. His narration opens with:
It was a dark and stormy night. The wind whistled through the skeletal trees where the bats hung expectantly. It was Halloween. The night of the living dead!. (A Spectre Calls, Part One)

11

As a gothic text, elements of which may be frightening, A Spectre Calls, can be considered as belonging to the horror genre, which, Schneider says, owes an enormous debt to Gothic literature. (2004).

The principal theme of A Spectre Calls is Undeadness: Halloween is the night of the living dead, when the veil is said to be thinnest between the living and the dead. In a graveyard, the detective communicates with supernatural characters from the spirit world, characters that have their roots in the Victorian gothic, including a doctor and an Egyptian mummy. The corpse, it is finally revealed, is not really dead after all: The dead man shows signs of life and is revived and diagnosed with a complex sleep disorder. The detective, a Victorian-style polyglot, and polymath is himself an undead figure in being able to move amongst the Halloween spirits: The Halloween trope allows Knacker to transgress the normal bounds of Self and Other, to escape the limitations of time and space that usually govern daily life. This theme is

unheimlich in Freuds sense, in arousing feelings of uncertainty, fear and dread.

A Spectre Calls can be described as belonging to further sub-genres of horror. It is a supernatural, or ghost horror story in that the Other is suspected to be one of a number of living dead spirits. This is uncanny or horrific, in Freudian terms, because Part One opens with shots (from the point of view of the narrator-protagonist) of an ordinary London street at night. The uncanny effect arises because supernatural events occur in a poetic world that has been established as natural and every-day. (2003: 20) In this respect, the text can also be described as a dark fantasy, in that the laws of nature have been broken to enable human interaction with the spirits of the dead. A Spectre Calls is a crime story, as it revolves around a murder and the

12

solving of the crime by Detective Inspector Knacker Of The Yard. Knacker tells various ghouls they are suspects in the murder case, who will be interrogated and punished if found guilty. He takes pleasure bringing the ghouls to book. A Spectre Calls is a comedy in which the horror effect is off-set by verbal and visual jokes. Therefore, A Spectre Calls can be positioned as a gothic text, falling into a number of sub-categories of the horror genre.

Moreover, insofar as A Spectre Calls is a gothic text, we run into the relevance of Freud, once again: "[N]o discussion of the Gothic can avoid discussing Freud; one of the most obvious ways of thinking about the genre is to read it in terms of Freud's system.... We cannot pretend that the striking parallels between Freud's thought and the Gothic fantasy do not exist" (Day, in Schneider, 2004: 177).

To further position A Spectre Calls as a horror text, I want briefly to consider some of the functions of horror in relation to aspects of this text. There are three key types of finding to discuss: 1. Horror as an entertainment, 2. Horror as instruction, 3. Horror as revenge fantasy (Twitchell, 1985).

First, a function of horror is to provide an entertainment experience like the thrills and spills of a roller-coaster ride, allowing the spectator to experience the pleasure of mastery, in the face of a scary Other. This idea is relevant to my argument in that project participants and patient-spectators engaged, voluntarily, as part of a recovery process, with a production that sometimes involved them facing and exploring personal fears and phobias,,

13

Second, horror is instructive: enabling us to define, re-define and learn about social bounds between self/other. Patrick, the texts patient-author, disguised as Knacker, uses this character/role to subvert the doctor-patient power relation, thereby redefining the bounds of Self/Other, according to his perspective as a patient. Knacker struggles to do his job and solve the crime, and does so, but remains an unstable figure, a kind of partial object. In this, A Spectre Calls subverts the dominant social narrative of normativity, re-positioning the non-normative as Self, and the Other as the normative system gone wrong. The character of Knacker represents Self as a kind of (monster-) mashed-up hybridity. This, I suggest, is an exploration and expression of Self from the patient perspective, a notion of Self that carries a strong trace of the Other, that rejects essential normativity, in a new definition of wholeness that acknowledges and accepts partialness as a given aspect of its ontology. Normalcy is thereby re-defined as a social space where un-conventional characteristics are acceptable, but where the decision makers i.e. clinicians must prevent the incursion of the Other e.g. diagnostic error.

Third, horror allows us to enjoy repressed, socially taboo fantasies (e.g. sexual, revengeful, murderous, cannibalistic etc.). Screen horror allows us to enjoy Self as Other. In an example of the revenge theory of the attraction to horror, patient-actor Patrick, disguised as Knacker, our hero, examines the hapless Dr. Philth and finds evidence of social abjection. Via this role reversal, Patrick, as Knacker, is able to give orders to, interrogate, and potentially punish Dr. Philth, who from a patients perspective, deviates in worrying ways from the normal/ideal doctor i.e. Dr. Philth shows symptoms of unusual closeness to a dead body, and produces loose pills from the pocket of his/her grubby white-coat, (A Spectre Calls Part Four).

14

In summary, I position A Spectre Calls as a horror text because it fulfils a number of criteria pertaining to this genre, in terms of iconography, characterisation, theme and function.

2.2 A Spectre Calls: Production Context

Here, I argue that the production context of A Spectre Calls , a psychiatric treatment centre, determined the specific characteristics of the Other in this text. This is to add weight to my argument, that the way the Other is depicted in screen horror is contingent upon and determined by the specificities of a productions socio-cultural context. The focus of my analysis is the development and depiction of the corpse character in A Spectre Calls. I show how, during the character development process, this character changed to fit the values of the NHS clinical setting which formed the context for the films production. First, I show how the initial scripting process produced a murder scene and a corpse character that was really dead. Second, I show how and why the murder scene was removed, and the body was recharacterised as unconscious. I argue NCRC is a disciplinary social space in the Foucauldian sense, producing its hegemonic power.

In the run up to Halloween 2010, during a NCRC film club workshop, one of the participants put forward the idea of making a Halloween film. This led straight into a group session that produced ideas for the proposed film. Suggestions for characters

15

included the familiar Halloween cast: a witch, zombies and an Egyptian mummy. It was suggested the story could be a murder mystery, involving a corpse and a detective. We recorded one of the group, Patrick, improvising an opening to the film, which began, It was a dark and stormy night. The group agreed Patrick should play the detective. In addition, Patrick agreed to write a script, incorporating the groups ideas. As suggested by the group, Patricks script was a murder

mystery. It featured a gruesome murder performed, in vision, by twelve angry ghouls and ghosts. In this, the original script the corpse character was murdered and really dead.

However, the script was subsequently changed, so that in the film as produced, the body is not really dead. When the group read Patricks script, some participants expressed concerns about the element of violence. As workshop leader, working in a clinical setting hegemonised by the idea of recovery, I responded to these concerns by suggesting we remove the proposed on-screen murder and change the reason for the corpses demise. One of the patient group, a medic, suggested the body could be unconscious, due to a medical condition, rather than the victim of a murder. The idea was agreed and developed. In this way, group members and NCRCs hegemonic emphasis on non-violence, positive thinking and recovery/, constrained and removed elements of violence from the script.

NCRC, I argue, represents Foucaults idea of a disciplinary social space. The purpose of the disciplinary space, Foucault says, is to produce normal individuals. In the third technology of power: discipline, Foucault states: Discipline 'makes' individuals (1979: 170). Sian Hawthorn explains Foucalts thinking:

16

Discipline is a process of individualisation. It does not exercise power on an undifferentiated mass of the social body; instead, it separates individuals as discrete entities and breaks up the body into many distinct parts. But discipline individualises at the same time that it produces a normalising effect on the individuals it constructs. (Hawthorn, 2004)

NCRC practices the Recovery Model, in a treatment regime combining the conventional use of psychiatric medication, with day to day activities designed to help individual patients manage their conditions, restructure their daily lives, and to return to their usual community roles. In this way, NCRC ideology was a sociocultural determinant in the films production process.

Foucault and Derrida both argue, however, we can re-distribute privilege, but cannot remove binary oppositionality. And, if binary oppositionality cannot be removed, the Other must still be there in the text. So, where or what is the Other in A Spectre Calls? In the following reading, I suggest that the script revision, that removed the social taboo of murder, led directly to a depiction of the Other that was more closely determined by the films production context, the NCRC clinical setting i.e. monstrosity shifted away from the Halloween ghosts and was identified, instead, as an aspect of the clinical system, that constituted the socio-cultural context of the production.

To discover the nature of the Other in this text, we need to look at the climatic act, where we discover the body is not dead after all, but rather has succumbed to a sleep disorder. We have seen that, in this text, the patients perspective is privileged, as Self, characterised by Knacker, maverick instrument of truth. Here, the crackpot Detective, observes the body is alive and capable of revival and recovery. 17

With his discovery, Knacker exposes the feared, dreaded possibility that the clinical system is flawed, inhabited by unhealthy medics such as Dr. Philth, who are incapable of distinguishing a living being from a corpse. . The Other, here, ultimately, is not one of the Halloween spectre suspects, nor even a hidden aspect of Knacker. Rather, the taboo act is a belief, a misrecognition, a (delusional?) fantasy that a crime has been committed, a murder has taken place and that the body is clinically dead. In fact, no murder has taken place, and the body is revived i.e. the Other is the spectre of a process of clinical diagnosis that proved unreliable, that erroneously described a body as dead, when it was alive, reflecting the buried alive fear discussed by Freud in The Uncanny.

In the films denuement, a new status quo is established, whereby authority (the power of diagnosis) is exercised by the maverick detective. Knacker observes vital signs, and revives the body - assisted by Dr. Philth, here restored to his/her proper role as instrument of recovery. Knackers revised diagnosis is: A case of catalepsy, narcolepsy and apopolepsy (A Spectre Calls, Part 4). The body, revived, gets up to join the cast in a celebratory Monster Mash dance finale, in an outcome that matches the stated goal of the service offered by North Camden Recovery Centre, i.e. a patients recovery of their autonomous capacity to participate as part of the community:
North Camden Recovery Centre provides a range of individual and group interventions to provide support and treatment to people who have experienced a recent deterioration in their mental health. The purpose of the service is to assist the recovery of service users and to enable them to return to their usual social and community roles. Camden and Islington Mental Health Foundation Trust, 2011)

18

A Spectre Calls, constructed from the perspective of patient service users, envisions a social status quo that is a community of the non-normal, one that repositions and characterises community life as a monster mash.

To conclude, according to my analysis, the Other in A Spectre Calls is the spectre of unreliable clinical diagnosis, which can be a profound fear for patient-subjects of the medical system. This case study supports my argument that depictions of the Other in screen horror are determined by the context of their production. It exemplifies the argument of Schneider and others that the surface-nature of Self/Other in screen horror reflects the concerns of a particular socio-cultural group:

Conclusion

Through a combination of approaches, both theoretical and empirical, I have argued that Freuds work and that of other psychoanalytic theorists is still central to an understanding of the nature of the Other in screen horror. Following Schneider, I have shown that the surface depictions of the screen horror Other are constructed and constrained by i.e. contingent upon the socio-cultural context of a texts production.

Through a short discussion of post-modern theory, and my empirical research, I have shown that Self and Other are categories whose attributes can change and are socio-culturally determined: In the patient-led production of A Spectre Calls, I

19

demonstrated how the category of Self was the domain of patients and ex-patients. So that Self reflected the patient perspective, and their desire to see a non-normative individual unmask the Monstrous Other and put matters right, in the face of medical power-knowledge gone wrong, the ultimate fear in this particular context.

I suggest my privileged knowledge of the production process of A Spectre Calls qualifies me to draw these conclusions. It may be objected my connection to the production necessarily leads to limited objectivity. However, whatever the limitations, this was an opportunity to use my knowledge of a non-mainstream text to shed light on ideas about the Other in screen horror that have been developed largely in relation to mainstream films.

My findings add weight to Schneiders assertion that surface depictions of the Other in screen horror are socio-culturally situated and historically specific. I have explored Freuds idea of the unheimlich and found that it is still relevant. The spectre of Freud will continue to haunt the study of the Other in screen horror for some time.

20

List of works cited

Derrida, Jacques (2006): Specters of Marx. The State of the Debt, the Work of Mourning and the New International. New York: Routledge. Foucault, Michel (1991, 1977), Discipline and Punish. The Birth of the Prison, Harmondsworth, Middlesex: Penguin Books. Freud, Sigmund (2003): The Uncanny. New York: Penguin Books. Hawthorn, Sian. (2004) Gender, Post-Colonialism and the Study of Religions Course Handout. Schneider, Steven Jay (2009): Horror Film and Psychoanalysis. Freud's Worst Nightmare. Cambridge: Cambridge Univ. Press. Twitchell, James B. (1985): Dreadful Pleasures. An Anatomy of Modern Horror. New York: Oxford Univ. Press.

Websites

Davis, Colin. Hauntology, Spectres and Phantoms. Oxford Journals Humanities French Studies Volume59, Issue3 Pp. 373-379. 1-4-2011 Film Studio at Daleham. A Spectre Calls Parts 1-4. http://www.youtube.com/myvideos/feature=mhum 1-4-2011 Camden and Islington Mental Health NHS Foundation Trust. http://www.candi.nhs.uk/services/services/north-camden-recovery-centre 1-4-2011
Schneider, Steven (1999). Monsters as (Uncanny) Metaphors: Freud, Lakoff, and the Representation of Monstrosity in Cinematic Horror. Other Voices, v.1, n.3 http://dancemachines.blogspot.com/ 12.2.11

21