کودک غریب در سینمای فراملی: ارواح آینده در آستانه قرن بیست و یکم

The Uncanny Child in Transnational Cinema illustrates how global horror film depictions of children re-conceptualised childhood at the turn of the twenty-first century. By analysing an influential body of transnational horror films, largely stemming from Spain, Japan, and the US, Jessica Balanzategui shows how millennial uncanny child characters resist embodying growth and futurity, unravelling concepts to which the child's symbolic function is typically bound. The book proposes that complex cultural and industrial shifts at the turn of the millennium resulted in these potent cinematic renegotiations of the concept of childhood. By demonstrating both the culturally specific and globally resonant properties of these frightening visions of children who refuse to grow up, the book outlines the conceptual and aesthetic mechanisms by which long entrenched ideologies of futurity, national progress, and teleological history started to waver at the turn of the twenty-first century. Contents: The Child as Uncanny Other / Section One / Secrets and Hieroglyphs: The Uncanny Child in American Horror Film / Chapter One: The Child and Adult Trauma in American Horror of the 1980s / Chapter Two: The Uncanny Child of the Millennial Turn / Section Two / Insects Trapped in Amber: The Uncanny Child in Spanish Horror Film / Chapter Three: The Child and Spanish Historical Trauma / Chapter Four: The Child Seer and the Allegorical Moment in / Millennial Spanish Horror Cinema. / Section Three / Our Fear Has Taken on a Life of Its Own: The Uncanny Child in Japanese Horror Film / Chapter Five: The Child and Japanese National Trauma / Chapter Six: The Prosthetic Traumas of the Internal Alien in Millennial J-Horror / Section Four[-]Trauma's Child: The Uncanny Child in Transnational Remakes and Co-productions / Chapter Seven: The Transnational Uncanny Child/ Chapter Eight: Progress and Decay in the Twenty-first Century: The Postmodern Uncanny Child in The Others / Chapter Nine: 'Round and round, the world keeps spinning. When it stops, it's just beginning:' Analogue Ghosts and Digital Phantoms in The Ring The uncanny child in transnational cinema illustrates how global horror film images of children reconceptualised childhood at the beginning of the twenty-first century, unravelling the child's long entrenched binding to ideologies of growth, futurity, and progress. The book analyses an influential body of horror films featuring subversive depictions of children and proposes that complex cultural and industrial shifts at the turn of the millennium resulted in potent cinematic renegotiations of the concept of childhood. In these transnational films - largely stemming from Spain, Japan, and America - the child resists embodying growth and futurity: by demonstrating both the culturally specific and globally resonant properties of these frightening visions of children who refuse to grow up, the book outlines the conceptual and aesthetic mechanisms by which long entrenched ideologies of futurity, national progress, and teleological history started to waver at the turn of the 21st century. "The Uncanny Child in Transnational Cinema analyses an influential body of horror films featuring subversive depictions of children that emerged at the turn of the 21st century, and considers the cultural conditions surrounding their emergence. The book proposed the complex cultural and industral shifts at the turn of the millennium resulted in potent cinematic renegotiations of the concept of childhood. In these transnational films the child resists embodying growth and futurity, concepts to which the child's symbolic function is typically bound. By demonstrating both the culturally specific and globally resonant properties of these frightening visions of children who refuse to grow up, the book outilines the conceptual and aesthetic mechanisms by which long entrenched ideologies of futurity, national progress, and teleological history started to waver at the turn of the 21st century."--Back cover

This book argues that the impressive range of belongings that can be connected to Duchess Matilda Plantagenet—textiles, illuminated manuscripts, coins, chronicles, charters, and literary texts—allows us to perceive elite women's performance of power, even when they are largely absent from the official documentary record. It is especially through the visual record of material culture that we can hear female voices, allowing us to forge an alternative way toward rethinking assumptions about power for sparsely-documented elite women.

The Uncanny Child in Transnational Cinema illustrates how global horror film depictions of children re-conceptualised childhood at the beginning of the twenty-first century, and considers the cultural conditions surrounding their emergence.