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GP 93 min Horror, Sci-Fi.

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A sympathetic anthropologist uses drugs and surgery to try to communicate with a primitive troglodyte who is found living in a local cave. Not Rated 94 min Drama, Horror, Thriller. Not Rated 90 min Horror. Following a horrifying experience with the occult in Africa, a schoolteacher moves to a small English village, only to discover that black magic resides there as well.

Not Rated 97 min Horror, Thriller. M min Crime, Drama, Mystery. Directors: Lee H. R min Crime, Musical, Mystery. Two middle-aged women move to Hollywood, California after their sons are convicted of a notorious murder and open a dance school for children eager to tap their way to stardom. PG 91 min Horror, Thriller.


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A demented widow lures unsuspecting children into her mansion in a bizarre "Hansel and Gretel" twist. Passed 86 min Horror, Mystery, Thriller. A woman is haunted by recurring nightmares, which seem to be instigated by her late husband who supposedly was killed in a fire. Not Rated min Thriller. A young couple who are into kinky "mind games" get more than they bargained for when a mysterious woman comes into their lives.

PG 99 min Horror, Mystery, Thriller. Ellen Wheeler, a rich woman, is recovering from a nervous breakdown with the help of her husband and a good friend. One day, while staring out the window, she witnesses a murder. But does Director: Brian G. R 90 min Comedy. An ex-pop singer kills her much-hated husband to be with her young lover.

Grande Dame Guignol Cinema: A History of Hag Horror from Baby Jane to Mother by Peter Shelley

Her daughter plots Electra-like revenge. R min Biography, Drama. The abusive and traumatic adoptive upbringing of Christina Crawford at the hands of her mother, screen queen Joan Crawford , is depicted. Not Rated min Drama, Film-Noir. A screenwriter develops a dangerous relationship with a faded film star determined to make a triumphant return. Votes: , PG 95 min Drama, Horror, Thriller.

Young David Masters drowns his mothers cat Sheba in its milk, claiming she loves it more than he, one of many such Shebas he has killed. As a grown man, he returns home with his wife Janie Votes: PG 98 min Thriller, Drama.

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A former actress clashes with her wealthy and spoiled stepdaughter over their inheritance after the death of their protector. R 92 min Crime, Drama, Romance. A veteran high school teacher befriends a younger art teacher, who is having an affair with one of her year-old students. However, her intentions with this new "friend" also go well beyond platonic friendship. Unrated 74 min Horror, Mystery. They are staying at Lorna's estate while interviewing old "friends" of Lorna.

Joel, whose father Please enable cookies in your browser to get the full Trove experience. Skip to content Skip to search. Published Jefferson, N. Language English View all editions Prev Next edition 4 of 4.

What Ever Happened To Baby Jane? Audio Book - Joan Crawford Bette Davis

Subjects Horror films -- History and criticism. Women in motion pictures. Grand Dame Guignol films Summary "This critical analysis examines 45 films featuring "grande dames" in horror films. Included is a history of women in horror. Next is an exploration of Grande Dame Guignol films that have followed that landmark release, continuing into the present.

The filmography includes cast, crew, reviews, synopses, production notes, recurring motifs and each role's effect on the star's career"--Provided by publisher. Notes Includes bibliographical references and index. View online Borrow Buy Freely available Show 0 more links Set up My libraries How do I set up "My libraries"? Federation University Australia - Gippsland campus library. Open to the public.


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  8. Aldrich derives some genuinely perverse zing out of pitting these competitive fading stars against one another. For all of the dark humor in the film, however, its levels of pain and the pathos are palpable.

    The Feud: Bette and Joan

    I can think of no scene in s film more heartbreaking than the shot of the aged, white-face-powder-plastered Jane staring at herself in the mirror with a shock of recognition at the disparity between her former child and haggard present-day older-woman self. The movie goes out of its way to make Davis-Jane hag-like. But the horror film genre does this—it takes personal fears and preoccupations to levels of extremity. Davis made a conscious, theatrical decision to look as grotesque as possible—unkempt hair, ghoul-white face, saggy, ungainly housedresses.

    Davis insisted on sporting realistic, grisly wounds, including the vengeful cross that is carved into her cheek. When Jane imprisons Blanche in her bedroom, tying her arms to an overhead notch, Blanche looks uncannily like a parody of the mother in the delivery room, in a suspended birth-giving scene.

    Deepening this metaphor, Jane cries out for Blanche at one point near the end of the film, desperately seeking her help; Blanche, starved, abused, near-death, can offer no maternal help to this deranged, pitiable daughter. At the end of the film, set on a beach, Blanche lies dying as Jane reverts to a child-like role, girlishly spinning around. In a grim parody of a mother-daughter beach outing, Jane, her mind flooding with images of happier days of herself as the child star Baby Jane playing with her family at the beach, procures an ice cream cone for Blanche and herself.

    In her book The Monstrous-Feminine, Barbara Creed argues that the primary fear at the core of the horror film genre is that the subject will be re-engulfed by the terrifying figure of the archaic mother, whose maw-like threat hovers around the cultural narratives—such as Freudian psychoanalysis and Hollywood film—that repress her presence; exemplary films in this regard include The Exorcist William Friedkin, , Carrie Brian De Palma, and Alien Ridley Scott, and its sequels.


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    I argue, however, that an equally urgent desire for return to the mother also informs the genre. Modern horror inherits longstanding anxieties over and conflictual wishes for return to the mother. In its weaving together of these proto-feminist themes, the Demeter-Persephone myth emerges as a resonant rubric—though, given the centrality of rape and violence, a volatile one as well—through which to understand reinterpret both female melodrama and female-centered horror.

    Stahl, ; Douglas Sirk, , in which the light-skinned daughter of the black woman rejects her mother but desperately mourns her death in the end. Cast off by the studios that had made them great and which they helped to make successful, Davis and Crawford, in their careers, emerge as errant daughters never properly nurtured, albeit by the studio fathers who cast them off once their star power faded Jack Warner, the head of Warner Brothers, where Davis was the premier female star from the later s to the mids, and where Joan Crawford enjoyed a mid-career resurgence with Mildred Pierce , directed by Michael Curtiz, released in ; Louis B.

    Lucy sports similar dramatic dark hair and baubles that hang from her ears and wrists.