collective are inevitably bound to fail and serve only to increase evil

Action inevitable calls up reaction, and in the matter ofdestructivenes

he psychopathology of theindividual is rooted in the psychology of the society and culture from which hecomes

certain transformationscan only come about in group situations.

crowd psychology

Id is at one and the same time the uncontaminatedtruth of man, the only place where he is authentically true

Holocaust,

Thus reality and collective unconscious fantasies mutually influenced and fedone another in a vicious spiral.

ocused not on the victims, but on the killers them-selves, on an utterly alien ‘Other’, a beast or a vampire, capable of infectingthe whole population,

she comes into contact with her other double, theterrible, knife-wielding mother who (apparently) will destroy her in thefamous shower scene

Psycho depicts woman as both monster and victim, going so far as toimply that the real killer in patriarchal society is not the man

first time the monster has a fully human face.

The moment in which we recognize the otherin ourselves and ourselves in the other is a sublime moment of ‘unlimiting ofthe imagination

ourown perverse desires and the perversity of our own community and culture,based as they are on mechanisms of sacrifice and of scapegoating.

it represents our own repressed desires and deep down we know itdoes.

our livesbecome a narrative open to the possibilities of our own darkness.

unlimiting’ of the imagination, an increase in consciousness

the imaginary and the symbolic can be repressed into the unconscious

viewing a horror film signifies both the desire toparticipate in perverse pleasure

horror functions by forcing us to become aware of,and to come to terms with, all that the ideological structure of our society con-strues as different.

interpreted in terms of the society that produces it

horror filmsreflect the ideology of society as much as they reflect the psychopathology oftheir creators.

personal dreams of their makers and the collectivedreams of their audience

It is both what we are and do not wish to be and whatwe are not and wish to be, endless font of horror, shame and guilt

‘ twilight zone’,

udgements of value, of what constitutes good and evilare not fixed in stone,

alls the subconscious,’the psychic shadow side’

are linked to the encounterwith the dark, unknown part of the personality that lies in the unconscious

the uncanny cannot be reduced only to the return ofthe repressed although this is undoubtedly one factor in the production of suchfeelings and despite Freud’s best efforts intellectual uncertainty

any duplication ofhis thought in external reality

obsessive fear of apremature death, his obsession with the doppelgänger and with the duplica-tion of his thought.

hat which ought to have remained secret andhidden but which has come to light’

Theuncanny’

producing a particular kind of negative pleasure

strongest of all the passions, that of self-preservation

Shadow is also acollective phenomenon and different cultures and societies will have differentshadows, different ways of dealing with limits, differences, evil and death.

theory of the relationship between manand culture.

operating at both a consciousand unconscious level

through his idea that the collective unconscious is composedsolely of timeless and unchanging structures

ignifies the expansionof the conscious self under sublime pressures

individuals seem to actually take pleasure in terrifying themselves

look at the ‘why’

the psychological effects that living with terror produce in the individual.

deferred recognition of adeeply troubling factor in human culture, an element which preoccupies usnow with its haunting reference

problem of living with terror, a problem that we are ill-equipped to face

indelible traces, traumatic blanks and distortions in the individual and collectiveunconscious

It is an illness that is passed on to the next generation

secretly consumed with remorse at night.

Everybody is a victim

"the city of enchantment" (Andersen 239) turns poor young girls into wealthy and elegantduchesses.

modern heroines whose "nature" has not been tamed nor effaced bylayers of clothes.

Little Red Riding Hood's punishment is ambiguous too: the heroine isnot rewarded by marriage, but marrying a lame husband would have sounded much more like a punishment.

Sheunderstands how the burglars entered the house, why the stranger had drawn the hood of her cloak over hishead, and eventually identifies him in court:

the innocent maiden becomes an amateur detective, bent on incriminating the man who "traded on" herheedlessness:

unlike the classical fairy tale, in whichthe wolf puts on the grandmother's clothes, here, the grandmother sees the wolf with Pussy's scarlet cloak onhis head and mistakes the thief for her granddaughter

Thus, not only is Little Red Riding Hood disembodied and turned into a commodity, butshe is even more effaced by figures of speech-such as her being a "madcap" and being "hoodwinked"

revolves around the dangers of appearances and is anchored in consumer culture.

a genuine lover of artistic beauties"

wolf isrendered as a visual experience-the visual pleasure displacing erotic desire.

"the conventional images that make theworld deceptively familiar"

pivots around bourgeoisaesthetic ideals and links the little girl's idea of taste to her deception.

The rewriting of the fairy tale enables her to bringto light the dangers of consumer culture, where anybody can pass for anybody and where bodies vanishbeneath visual codes

delusive appearance of reality.

The modern rewriting suggests thatyoung girls should not walk off the tracks of proper femininity-literally

Moreover, she is eager to visit her grandmother, who will "make [her]presents of new dresses and hats" (216), and prepares her journey to her grandmother's through manyshopping expeditions

the allusion to taste and the suggestion that we could very well imagine what shelooked like constructs her as an aesthetic representation of the Victorian ideal-as an image that matches thevisual stereotypes of the period.

emphasize the idea thatreality is legible

these images may be deceptive.

"We don't meet with wolves now, you see, and if we did, we couldn't talk to them"

trusting nature pays more than deckingoneself in fashionable red clothes, and Patty's innocence, if it costs her her inheritance, enables her to marrythe wolf.

her virginity-the displacementof the rape motif stands as a symbolic representation of the loss of her sexuality

As an embodiment of the conservative ideology that literally eats up little girls bydemanding that they suppress their desires and appetites,

Ritchie completely rewrites the meeting between the little girl and the wolf disguised as hergrandmother

her brief wildness but serves to hint ather lack of restraint and foretell the confession of her love for her cousin.

Patty's physical transformation and the stress on herappetite mark her sexual maturation, foreshadowing her meeting-and mating-with the wolf.

the transformation of the little girl into an object of the gaze through the riding hood testifiesto her need to regulate her nature.

her relationship with nature must be controlled and bridled.

Ritchie'sdescription of heroism is far removed from women's prescribed repression and silent suffering.

becomes a means ofmapping out the young girl's passion.

the giantcrystal building comes to illustrate the narrative's preoccupation with female aestheticization, taking part in theheroine's visual metamorphosis and in her construction as a prototypical princess likely to attract the prince'sattention:

to stage feminine desire.

The aim of such fairy taleswas mostly to shed light on the disenchanting experience of modernity and progress

the links between the marvelous and fairy-like and a modernculture grounded in illusions and the deceptive nature of reality

portraits of exemplary women while hinting atwomen's economic dependence on men.

artificial construction ofthe female body induced by mass visual culture

the modern world is a place where illusions and delusions prevail, aswomen use beauty aids to trick beholders.

she had been known to tie two brass ear-rings to her ears with bits ofcotton, pretending that her ears had been really pierced;

little girl's identity merges with and depends upon the clothes she iswearing, enhancing all the better the heroine's commodification

bottles and cakes luring her to consume them is related to Alice's regulation of her appetite (nibbling at one sideof the mushroom or the other) and control of her image

"Cultural objects tend to lose contact with the material conditions of theirproduction, undergo transformations resembling the commodification process, and assume a form which isdisparagingly called 'the image' or 'free-floating images'"

image of lust anddesire-not particularly fearing to mate with the wolf

On the other hand, it also suggests that suchbehavioral standards might be reappropriated and become a means for women to counteract gender roles andmale domination.

contrast between theheroine's inner nature and outer appearance

sex objects-the hood standing for "an iconic signof the seducer, the femme fatale"

taming of the body and the restraining of natural instincts, since a little girl is punished for indulging insensuality and must learn to discipline herself and to keep her instincts in check.

construction of the body

stylized the folk tale in order to match the social and aesthetic standards of anupper-class audience.

which deals with a little girl who trusts her own nature and indulges in sensualpleasures

Victorian Red Riding Hoods were frequently turned into fashion addicts indulging in theirown image the better to seduce-even if sometimes innocently-hungry wolves.

consisted in transforming "a hopeful oraltale about the initiation of a young girl into a tragic one of violence in which the girl is blamed for her ownviolation"

innocent maidens devoured by hungry wolves have frequently been resuscitated

I'm going to put myself inevitably in the paws of the wolf.

Heroes are simply ourselves projected outwardly.

basic archetypal structure of the hero pattern has not changed

irst expressed in the stories of our ancient ancestors

he moves away from intimacy by mistrusting Terry and pushing him away

Croft is clearly just a sexy woman in a male superhero’s role, without any recognition of the different needs and desires inherent to femininity

engaged in her ultra-masculine training with killer robots, with her love-interest

she discovers that her super-identity is empty without love and companionship

masculine goals of fighting and world saving must be complemented with the more feminine goals of love and devotion.

imbued with the masculine qualities of strength, determination and superpowers that are normally required of male heroes.

a man, to guide her in the male dominated realm of adventure and world saving

rejection of traditional feminine values.

indulging in drawn out shower scenes, skimpy skintight outfits and revealing bikinis

free to love the girl

“master of the two worlds.

This unmasking, rather than weakening Spider-Man, only endears him more to his public, who accept him outright as their hero and savior

“willing sacrifice” to the people of the city, his crucifixion pose a clear symbol of his role as a semi-divine hero.

“great responsibility” that comes with “great power.”

Uncle Ben

superhero’s transformation from mortal to demi-god is permanent, Peter’s refusal represents a reluctance to return to his role as Spider-Man

he knows that he must decline her love, because he has nowfully accepted his identity as a superhero.

he nearly dies.

“like a brother”

Green Goblin plays the role of Peter’s dark, menacing father figure

ability to lure the hero away from his road

fighting crime and foiling villains in New York City

achieving the mythic identity that he is destined for.

hunts down his uncle’s murderer.

guilty

stop a thief, but doesn’t. His refusal of the call leads to an ironic tragedy, when the thief kills Peter’s uncle

bitten by a genetically engineered mutant spider

geeky weakling, bullied

his aunt May (Rosemarie Harris) and uncle Ben (Cliff Robertson)

orphan, raised by surrogate parents

restores theworld.”

hen the hero journeys through a world of unfamiliar yet strangely intimate forces

decisive victory is won

separation – initiation – return

fulfills a psychological function for both the mythmakers and their audiences

universal and timeless

which corresponds quite nicely with the three-act structure that most screenplays follow.

Hulk is a Hollywood movie, a real death of the hero in the end was not possible, as audiences love happy endings, and also because sequels are big moneymakers.

Banner is victorious – saving the planet from his father’s evil plans for world domination.

David tries to kill his son – to 7 spare him a life as a genetic mutant

born under the most unusual circumstances

hostile, antagonistic relationship between the hero and his father

After many years of heroic acts, the hero dies a mysterious death

to kill him, but he is spirited away, and reared by foster-parents in a far country.

reputed to be the son of a god

accept his true identity as a semi-divine superhero, with the power to rid the planet of evil.

He does not understand why he has superpowers, and what his true purpose in life may be

who will rid the world of all its evils.

making him more of a god than a man

disavow one’s own parents in favor of some elaborate backstory in which one’s real biological parents are noble or divine – hence the existence of special, supernatural or super powers in one’s self.

fantasy parents, who are ideal

he is superior to his natural parents

hero myth is that the people who raise the child are not his real parents; rather, they are surrogate parents. Rank believed that this aspect of the 4 myth is a universal “daydream” among children, in which the child fantasizes that his own ordinary parents are not really his mother and father; but rather, that he is the child of noble lineage.

hero proves his worthiness

abandoned,

prophecy

The hero is the child of most distinguished parents, usually the son of a king

how it is being revived and reinterpreted by Hollywood,

hero’s birth and childhood, and prior to his downfall and death

symbol of the self, and his adventure as the symbol of life

the downfall and death of the hero, in which the hero becomes ritualistically transformed from a living person into an immortal legend.

focuses primarily on the birth of the hero – represented in movies as the superhero’s “backstory.”

he must also overcome his personal doubts, fears and anxieties about himself and his atypical identity

human frailties and weaknesses more indicative of normal people

integrating the collective encounter

“theater of the mind,”

“transcendent function”

each individual in the audience identifies personally with the hero’s story

no one ever did anything to harm her again.

the child, take the pail, Little Red Riding Hood. I made some sausages yesterday, so carry the water in which I boiled them to the trough. Little Red Riding Hood carried until the great trough was quite full. Then the smell of the sausages reached the wolf, and he sniffed and peeped down, and at last stretched out his neck so far that he could no longer keep his footing and began to slip, and slipped down from the roof straight into the great trough, and was drowned.

Soon afterwards the wolf knocked, and cried, "open the door, grandmother, I am Little Red Riding Hood, and am bringing you some cakes." But they did not speak, or open the door,

told her grandmother that she had met the wolf, and that he had said good-morning to her, but with such a wicked look in his eyes,

was again taking cakes to the old grandmother, another wolf spoke to her, and tried to entice her from the path. Little Red Riding Hood, however, was on her guard, and went straight forward on her way,

I will never by myself leave the path, to run into the wood, when my mother has forbidden me to do so.

quickly fetched great stones with which they filled the wolf's belly, and when he awoke, he wanted to run away, but the stones were so heavy that he collapsed at once, and fell dead.

ut took a pair of scissors, and began to cut open the stomach of the sleeping wolf.

Then just as he was going to fire at him, it occurred to him that the wolf might have devoured the grandmother, and that she might still be saved

he saw that the wolf was lying in it. "Do I find you here, you old sinner," said he. "I have long sought you."

And scarcely had the wolf said this, than with one bound he was out of bed and swallowed up Little Red Riding Hood.

"Oh, grandmother," she said, "what big ears you have."

he went straight to the grandmother's bed, and devoured her. Then he put on her clothes, dressed himself in her cap, laid himself in bed and drew the curtains.

"Who is there?" "Little Red Riding Hood," replied the wolf. "She is bringing cake and wine. Open the door." "Lift the latch," called out the grandmother, "I am too weak, and cannot get up."

she thought, suppose I take grandmother a fresh nosegay. That would please her too. It is so early in the day that I shall still get there in good time. And so she ran from the path into the wood to look for flowers. And whenever she had picked one, she fancied that she saw a still prettier one farther on, and ran after it, and so got deeper and deeper into the wood.

, "see Little Red Riding Hood, how pretty the flowers are about here. Why do you not look round. I believe, too, that you do not hear how sweetly the little birds are singing. You walk gravely along as if you were going to school, while everything else out here in the wood is merry."

"What a tender young creature. What a nice plump mouthful, she will be better to eat than the old woman. I must act craftily, so as to catch both."

"A good quarter of a league farther on in the wood. Her house stands under the three large oak-trees, the nut-trees are just below. You surely must know it," replied Little Red Riding Hood.

"Where does your grandmother live, Little Red Riding Hood?"

do not run off the path

did not know what a wicked creature he was, and was not at all afraid of him.

wolf

Little Red Riding Hood

there was nothing that she would not have given to the child.