As such, the grotesque has been debated not only in relation to other modes and genres but also with regard its own varying types of representation. While a considerable amount of misunderstanding is related to the definition of the mode, the inherent confusion has to do with different categories of the grotesque as well as overlaps with similar modes and genres. As an aesthetic category of art and literature, it has constantly given rise to critical studies of both diverse and complementary nature about a mode which is very often taken to be incomprehensible, misunderstood, absurd, or appalling. Throughout its long history, the grotesque has been mostly been discussed for the various, even opposing, types of representation it has been depicted and traced through. Through a contradiction of convention and narrative style, this film succeeds in mirroring anxieties concerning the decline in human morality, addressing ‘the plague’ that has infected the modern world. Gore Verbinski’s ‘cure’ is never defined, and it is up to the viewer to decide what constitutes the film’s defining categories of ‘well’ and ‘unwell.’ Rather than accomplishing a cohesive thematic purpose, A Cure for Wellness is more influential in its cinematic hybridity and transgressive use of genres, and this could be the cure that Verbinski was aiming for: an antidote to previously restricted narratives. In explaining the purpose of supernatural in fiction, Alexa Wright states that at: “Times of social and moral unrest, in particular, the visible presence of a human monster offers an important form of reassurance that society has a means of dealing with disruptive forces in play” (Wright 166). Since its release, this misunderstood film has been poorly received due to an abundance of styles that prevent any clear understanding of the narrative purpose.The director’s choice of a hybrid genre distorts familiar forms to force his audience to recognise the warped face of the modern world. It can be analysed from multiple perspectives due to its multifaceted themes and its ability to transgress genre. Beale’s text highlights the malleability of the flying saucer myth, particularly the disconnection between visual identity and other signifiers the way flying saucer narratives raised issues of belief and superstition and the way cultural processes sought to contain and domesticate unfamiliar, uncanny elements.Ī Cure for Wellness, directed by Gore Verbinski, is a suspenseful thriller that has left audiences bewildered by its blending of cinematic style. Discovering that the saucers have disturbed local witches and Santa’s reindeer, threatening Christmas, Tom flies to Mars and attempts to save the day. Santa and the Mars King begins with a flying saucer sighting, a sceptical response from the public, and its investigation by the child protagonist, named Tom. Appearing ten years after Arnold’s 1947 sighting, Beale’s story reveals the way the saucer could become intertwined with other cultural mythologies of the age. Each involved a topical theme, presenting the concerns of the time comedically, but not entirely carelessly. These stories were serialised and syndicated by the Associated Press to member newspapers, beginning with Santa and the Skeptic and ending with Santa and the Hippies. Santa and the Mars King was one of the annual children’s stories Beale wrote between 19. In particular, this article will consider Lucrece Hudgins Beale’s 1954 children’s story Santa and the Mars King – perhaps the earliest intersection of flying saucers and Santa Claus. The flying saucer narrative, its beginnings, public response, and domestication, are considered as a whole and through an individual text. Newspaper reports, films, toys, and novels utilised this new cultural form. After the initial sighting by Kenneth Arnold in July 1947 which triggered the phenomenon, the flying saucer began appearing in a variety of media and material forms directed at numerous audiences. This article investigates post-war flying saucer narratives within US popular culture.
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