The following is a short feature I wrote for JRN 500- Journalism and the Arts
Gothic 2012: Horror makes a comeback as we worry about the world ending
Gothic literature may seem like a long-outdated form of entertaining writing, yet it has actually made a come back lately in relation to 2012 apocalyptic, end-of-the-world fears.
In the past few years, there have been numerous shows and movies with the theme of religious apocalypse and world-ending disasters. Horror has also crept into many popular book-series-turned-film-series, whether that is the vampire-filled Twilight series or dystopian world of the Hunger Games trilogy (which made $214 million in its opening weekend as a film).
Gothic, horror, supernatural fiction, dark fantasy and dystopian literature–whatever the exact name, they all have Gothic horror elements–have always been a way for people to live out their worst fears. “Gothic is one of those genres that crosses boundaries,” says Sarah Henstra, an English professor at Ryerson University who specializes in Gothic literature. Because of this cross-genre aspect, Gothic is almost always popular and is ever-present in pop culture.
“It’s really popular during transitional states in society,” Henstra says. While Gothic is ever-present, it tends to become even more popular at times of social change and collective anxiety about the future, such as at the turn of each century and around the time of huge scientific break-through.
Each wave of Gothic fiction explores and plays-out current social anxieties. Just as The Strange Case of Dr. Jekyll and Mr. Hyde explored fears of new pharmaceuticals and Frankenstein played out society’s fear of technology, the most recent Dexter season explores our worries about religious apocalypse and uprising and the film Contagion plays on society’s extreme anxiety surrounding disease and superbugs.
“But it’s not just about 2012. It’s just a worry about new technologies and such. These anxieties are already in society,” Henstra says. Exploring our fears about the future is easy to do through fictional films and books. “It’s safe and at a distance. It’s a vicarious playing-out,” says Henstra. Seeing our fears become real on a screen or reading about the destruction of the world is a way of releasing our tension about it.
Society’s fascination with its own demise does sound a little morbid, but often getting these fears out in the open is the only way to work through them. “Fear can be both repulsive and attractive,” says Gemma Files, Canadian horror author. “Anything which allows you to explore your fears is healthy.”
“Gothic isn’t a genre at all, it’s an emotion,” says Toronto-based author and journalist David Nickle. Fear and anxiety about the future, about the state of the economy and the earth, about political uprising and natural disasters are all valid feelings. Gothic pop culture simply uses these feelings to entertain us, all the while helping us explore and work through complicated and heavy emotions.
In Apocalypse Observed: Religious Movements and Violence in North America, Europe and Japan, John R. Hall questions what is so appealing about gothic horror. “Apocalyptic images bring focus to anxieties and suspicions about a world undergoeing dramatic change,” he writes. “But what is the appeal of their seemingly fantastic, almost legendary stories?”
The answer to this question is simply the fact that fictional stories help society’s real problems. “Take the thing you want least to happen, the worst thing you can imagine, and play it through. If you do, it may possibly make your fears far easier to deal with...but even if it doesn't, there's still something to be said for exploring the whys and wherefores of those fears,” Files says. “Horror and Gothic helps with that, too: You play out that consummation in fiction, so it doesn't overtake you in life.”
Gothic may be a popular movie style and many television show nowadays has some sort of end-of-the-world theme, but the rise horror-fiction mirrors society’s wide range of real political, economic, and environmental fears and anxieties.
“We're blundering through the first twenty years of another thousand, with absolutely no idea where we're all headed,” says Files. “But I'll tell you this much--as of right now, the prospective future looks a lot more like Panem than it does like Star Trek.”
Showing posts with label TV. Show all posts
Showing posts with label TV. Show all posts
Thursday, May 3, 2012
Sunday, February 26, 2012
Most Post: The National's Ron Charles and Leanne Hazon
The Ryerson Review of Journalism has been doing a video series on the website called "The Most Tales." Corey Mintz, for example, talked about his most bizarre meal. Toronto Star food editor Jennifer Bain discussed her most dangerous moment in the kitchen
I went to CBC's Toronto headquarters to meet with The National's Leanne Hazon, assignment editor, and Ron Charles, reporter. They both told me about the most memorable story they ever worked on. Check it out on the RRJ web site.
I went to CBC's Toronto headquarters to meet with The National's Leanne Hazon, assignment editor, and Ron Charles, reporter. They both told me about the most memorable story they ever worked on. Check it out on the RRJ web site.
CBC's New Drama, Arctic Air, Takes Flight [Review]
The following is a review I wrote for JRN 500- Journalism and the Arts.
Arctic Air, CBC Television's new series, is only a few episodes into its first season, but this cold-weather Canadian drama is quickly taking off. Based in Yellowknife, the show follows the lives of the workers at a small-time flying companying, both in the air and on the ground.
Bobby Martin (Adam Beach) returns to Yellowknife after years of living in “the south.” Upon his return, he encounters a lot of old friends with mixed feelings about his return. Bobby may be a charmer, with nice smiles and nice words, but when he gets punched in the face during the first five minutes of the show, it becomes apparent that he has some bad history.
Krista Iverson (Pascale Hutton) is an old school-mate of Bobby's, and her father Mel (Kevin McNulty) is actually Bobby's business partner at Arctic Air, simply because Bobby inherited shares. They have a relatively good relationship with Bobby, but that can't be said of Bobby's old love interest Petra Hossa (Lexa Doig) and her father Doc Hossa (Micheal Hogan).
While over-arching plot elements focus on Bobby's past and present personal and family issues, each episode also contains a mid-air flight fright, whether that be a woman in labour, an electrical storm, or a small-scale hijacking. The showy adventures are fun to watch, but the family issues and half-cooked romances seem much more real than those high flying dramatics. It's the day-to-day problems that keep you hooked.
The show also explores bigger social, racial, and political issues. Bobby is a native and a former oil prospector who spent a good chunk of time in the south. More than once, he encounters racial slurs, anger towards the oil industry, and backlash against his supposed northern abandonment.
There are a few cheap thrills and chills, but there are also a few deep-rooted issues and breathtaking scenes of Canada's north. For a born-and-and-bred Torontonian, Arctic Air is as exotic and different in subject matter as it is in northern Canadian scenery. (For the rest of unsheltered Canada, this series is probably just a good bit of entertainment.)
Photo Credit: From CBC Revenue Group, http://www.cbc.ca/revenuegroup/arctic-air.html
Arctic Air, CBC Television's new series, is only a few episodes into its first season, but this cold-weather Canadian drama is quickly taking off. Based in Yellowknife, the show follows the lives of the workers at a small-time flying companying, both in the air and on the ground.
Bobby Martin (Adam Beach) returns to Yellowknife after years of living in “the south.” Upon his return, he encounters a lot of old friends with mixed feelings about his return. Bobby may be a charmer, with nice smiles and nice words, but when he gets punched in the face during the first five minutes of the show, it becomes apparent that he has some bad history.
Krista Iverson (Pascale Hutton) is an old school-mate of Bobby's, and her father Mel (Kevin McNulty) is actually Bobby's business partner at Arctic Air, simply because Bobby inherited shares. They have a relatively good relationship with Bobby, but that can't be said of Bobby's old love interest Petra Hossa (Lexa Doig) and her father Doc Hossa (Micheal Hogan).
While over-arching plot elements focus on Bobby's past and present personal and family issues, each episode also contains a mid-air flight fright, whether that be a woman in labour, an electrical storm, or a small-scale hijacking. The showy adventures are fun to watch, but the family issues and half-cooked romances seem much more real than those high flying dramatics. It's the day-to-day problems that keep you hooked.
The show also explores bigger social, racial, and political issues. Bobby is a native and a former oil prospector who spent a good chunk of time in the south. More than once, he encounters racial slurs, anger towards the oil industry, and backlash against his supposed northern abandonment.
There are a few cheap thrills and chills, but there are also a few deep-rooted issues and breathtaking scenes of Canada's north. For a born-and-and-bred Torontonian, Arctic Air is as exotic and different in subject matter as it is in northern Canadian scenery. (For the rest of unsheltered Canada, this series is probably just a good bit of entertainment.)
Photo Credit: From CBC Revenue Group, http://www.cbc.ca/revenuegroup/arctic-air.html
Monday, February 7, 2011
Canada Reads: Day One
Today was the first of three days of debates for Canada Reads! It was hosted by Q's Jian Ghomeshi.
The top five books were picked in November. They are:
The Best Laid Plans by Terry Fallis (defended by Ali Velshi),
The Birth House by Ami McKay (defended by Debbie Travis),
The Bone Cage by Angie Abdou (defended by Georges Laraque),
Unless by Carol Shields (defended by Lorne Cardinal),
and, my personal favourite, Essex County by Jeff Lemire (defended by Sara Quin).
Essex County was my top choice. The author lives in my neighbourhood and he comes into the coffee shop where I work, so I feel the need to cheer him on. But it is an amazing graphic novel. It doesn't have many words, but the drawings are spectacular. Yes, they are quite simple, but so much is shown through the characters' minute changes in facial expression. It is a sad, powerful, novel. (And yes, "cartoons" count as novels. There is a huge difference between a cartoon and a thoughtful, in-depth graphic novel.)
Not only did I love t
he book itself, but Sara Quin was defending it, and I love her. She is half of the musical duo Tegan and Sara. I love them! Love, love, love them! I have most of their CDs (I haven't bought the new one. I'm a little behind in my CD purchasing.) I saw them perform live at Danforth Music Hall a couple years ago. They had great stage banter. Highly amusing.
Sara did a great job at defending Lemire's novel. She had very good arguments, resolute but sound opinions, and she spoke eloquently. She had a lot of punch behind what she said, but she didn't have to swing her arms around or point her finger at people (*ahem* Ali Velshi).
I think Essex County was the first to be voted off because the older generation isn't actually as open minded to a new form of novel as they think they are. Sara and the audience were all of a younger generation, while the rest of the panelists were older. They weren't much older, but there was a definite generational gap.
After the broadcast stopped, the audience got their chance to speak. The majority of the audience was in support of Lemire's novel, and they vehemently defended the book. Several audience members also spoke up, and the panelists looked a little taken aback that everyone was ganging up on them.
Yes, they may have been told to pick the "essential Canadian novel," but they barely gave this newer form of book a chance. They may be hoping for a novel that could change the way Canadians think about reading, but they voted off the only book that is different from the others, the only novel that was a change itself.
The top five books were picked in November. They are:
The Best Laid Plans by Terry Fallis (defended by Ali Velshi),
The Birth House by Ami McKay (defended by Debbie Travis),
The Bone Cage by Angie Abdou (defended by Georges Laraque),
Unless by Carol Shields (defended by Lorne Cardinal),
and, my personal favourite, Essex County by Jeff Lemire (defended by Sara Quin).
Essex County was my top choice. The author lives in my neighbourhood and he comes into the coffee shop where I work, so I feel the need to cheer him on. But it is an amazing graphic novel. It doesn't have many words, but the drawings are spectacular. Yes, they are quite simple, but so much is shown through the characters' minute changes in facial expression. It is a sad, powerful, novel. (And yes, "cartoons" count as novels. There is a huge difference between a cartoon and a thoughtful, in-depth graphic novel.)
Not only did I love t
he book itself, but Sara Quin was defending it, and I love her. She is half of the musical duo Tegan and Sara. I love them! Love, love, love them! I have most of their CDs (I haven't bought the new one. I'm a little behind in my CD purchasing.) I saw them perform live at Danforth Music Hall a couple years ago. They had great stage banter. Highly amusing.
Sara did a great job at defending Lemire's novel. She had very good arguments, resolute but sound opinions, and she spoke eloquently. She had a lot of punch behind what she said, but she didn't have to swing her arms around or point her finger at people (*ahem* Ali Velshi).
I think Essex County was the first to be voted off because the older generation isn't actually as open minded to a new form of novel as they think they are. Sara and the audience were all of a younger generation, while the rest of the panelists were older. They weren't much older, but there was a definite generational gap.
After the broadcast stopped, the audience got their chance to speak. The majority of the audience was in support of Lemire's novel, and they vehemently defended the book. Several audience members also spoke up, and the panelists looked a little taken aback that everyone was ganging up on them.
Yes, they may have been told to pick the "essential Canadian novel," but they barely gave this newer form of book a chance. They may be hoping for a novel that could change the way Canadians think about reading, but they voted off the only book that is different from the others, the only novel that was a change itself.
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