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The Witching Hour: Contemporary Feminist Representations of Witchcraft and the Body of the Witch in Suspiria and The Chilling Adventures of Sabrina

Note: While this is by no means the finished project, this is the beginning of my thesis project. I’m super super excited to share this with everyone and I hope that you’ll all join me in this thesis journey!

In recent years, contemporary film, television, and even comic books and graphic novels related to witches and the occult have challenged how we view the feminine body and how haunted spaces in the occult genre both conform to and playfully challenge psychoanalytic theories of gender and sexuality. For example, in the 2013 season of American Horror Story, the popular show tackles issues surrounding witchcraft and covens in Coven and, two years later, director Robert Eggers once again revisits the witch and haunted spaces in his art house film, The VVitch. For both of these narratives, the body of the female witch serves as a vehicle through which femininity becomes celebrated and exalted by occult forces but demonized by patriarchal influences, institutions, and characters. Since the body of the witch resists signification, characters and social institutions that succumb to patriarchal influence cannot understand this celebration of femininity, like Thomasin’s mother in The VVitch. As compelling as these examples of current popular fascination with witches are as visual narratives, Luca Guadagnino’s Suspiria and Netflix’s The Chilling Adventures of Sabrina embody elements of of Julia Kristeva’s theory of the semiotic and challenge perceptions of the female body through dance and through the identity of self. The witch’s resistance of signification is not merely a thematic fascination. It also applies to the expansive reach of the witch that resists signification and theorization.

In Lacan’s theory of the mirror stage, he begins to ouline what will eventually become his theory on the Primordial Law. In the mirror stage, subjects become alienated from themselves and end up straddling different lines of the physcial realm. Similarly, Kristeva’s notion of the semiotic, which is not entirely pre-linguistic, is a theory that emphasizes something that exists out of time and temporality and focuses on the expression of a feeling that operates similar to the Freudian notion of the Uncanny. Additionally, theorists like Sandra Gilbert, Susan Gubar, and Barbara Creed criticize various different tropes that different creators utilize within their works, like Gothic tropes popularized in Victorian literature, like the Angel in the House and the Madwoman in the Attic, and the montrous feminine in contemporary horror narratives.

The witch has become an all-encompassing metaphor for a wide range of theoretical perspectives and interpretations. In this thesis, I want to emphasize how the creative teams that worked on Suspiria and The Chilling Adventures of Sabrina work with the body of the witch as well as how both cinematic pieces work with the trope of the Mother, the Maiden, and the Crone, an archetype popularized by Wiccan theology but also used in Celtic and Hellenic mythology, while simultaneously focusing on how the aforementioned theories work together to make the body and idea of the witch a patriarchal, theoretical, and socio-political nightmare. While both works stem from different cinematic and narrative traditions – one teen horror and the other art house – they both examine complex relationships between symbolic meaning and pre-linguistic, or semiotic, spaces.

Aguirre-Sacasa, Roberto. The Chilling Adventures of Sabrina. Netflix, 2015.

Becker-Leckrone, Megan. Julia Kristeva and Literary Theory. Palgrave MacMillan, 2005.

Beauvoir, Simone de. “The Second Sex.” The Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch et al., Norton, 2010, 1265-1273.

Benson, Peter. “A Womb of Words.” Philosophy Now. https://philosophynow.org/issues/34/A_Womb_of_Words. Accessed 29 January 2019.

Braudy, Leo. Haunted: On Ghosts, Witches, Vampires, Zombies, and Other Monsters of the Natural and Supernatural Worlds. Yale University Press, 2016.

Bond, Henry. Lacan at the Scene. Massachusetts Institute of Technology Press, 2009.

Creed, Barbara. The Monstrous Feminine: Film, Feminism, and Psychoanalysis. TJ Press, 1993.

Cixous, Helene. “The Laugh of the Medusa.” The Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch et al., Norton, 2010, 1942-1959.

Conway, D.J. Wicca: The Complete Craft. Ten Speed Press, 2001.

Gilbert, Sandra M. and Susan Gubar. “The Madwoman in the Attic.” The Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch et al., Norton, 2010, 1926-1938.

Gordon, Joan and Veronica Hollinger. Blood Read: The Vampire as Metaphor in Contemporary Culture. University of Pennsylvania Press, 1997.

Guadagnino, Luca. Suspiria, performances by Dakota Johnson and Tilda Swinton, Amazon Studios, 2018.

Higley, Sarah L. and Jeffrey Andrew Weinstock. Nothing That Is: Millennial Cinema and the Blair Witch Controversies. Wayne State University Press, 2004.

Jackson, Kimberley. Technology, Monstrosity, and Reproduction in Twenty First Century Horror. Palgrave MacMillan, 2013.

Kristeva, Julia. “Revolution in Poetic Language.” The Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch et al., Norton, 2010, 2071-2081.

Kristeva, Julia. The Powers of Horror: An Essay on Abjection. Columbia University Press, 1982.

Lacan, Jacques. “The Signification of the Phallus.” The Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch et al., Norton, 2010, 1181-1189.

Lorenzi, Lorenzo. Witches: Exploring the Iconography of the Sorceress and the Enchantress. Petruzzi Stampa, 2005.

Margaroni, Maria. “The Lost Foundation: Kristeva’s Semiotic Chora and Its Ambiguous Legacy.” Hypatia, vol. 20, no. 1, Winter 2005, pp. 78-98.

McAfee, Noelle. Julia Kristeva. Routledge, 2004.

Micale, Mark. Hysterical Men: The Hidden History of Male Nervous Illness. Harvard University Press, 2008.

Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” The Norton Anthology of Theory and Criticism, edited by Vincent B. Leitch et al., Norton, 2010, 2084-2095.

Murray, Noel. “Chilling Adventures of Sabrina Finds a Smart Metaphor in Satanism.” The Verge. Accessed 20 January 2019.

Newcomb, Horace. Television: The Critical View. Oxford University Press, 2000.

Pulliam, June. Monstrous Bodies: Feminine Power in Young Adult Horror Fiction. McFarland and Company Inc., 2014.

Roche, David. “Mad Narrators and Sadomasochistic Narration in The Blair Witch Project and Paranormal Activity.” Les Narrateurs Fous, edited by Nathalie Jaeck et al., Publications Maison des Sciences de l’Homme d’Aquitaine, 2014, pp. 319-334.

Sheffield, Rob. “The Witch Is Back!: Netflix’s ‘Riverdale’-like Makeover of Archie Comics Character Smells Like Teen Witchiness – and Gives Us a Resistance-Era Heroine.” Rolling Stone. https://www.rollingstone.com/tv/tv-reviews/chilling-adventures-of-sabrina-review-745479/. Accessed 20 January 2019.

Simeroth, Rosann. “The Horror of the Camera in The Blair Witch and Paranormal Activity.” Paranoia, Fear, and Alienation, edited by Kimberly Drake, Grey House 2017, pp. 55-67.

Sims, David. “Female Freedom and Fury in The VVitch.” The Atlantic. Accessed 20 January 2019.

Stahler, Kelsey. “The Resurgence of Witches in Pop Culture, Like Sabrina, and in ‘AHS Coven’ and ‘Charmed,’ Reflects Women in the Real World.” Teen Vogue. https://www.teenvogue.com/story/witches-pop-culture-sabrina-ahs-charmed-real-world. Accessed 5 February 2019.

Walker, Julia M. Medusa’s Mirrors: Spenser, Shakespeare, Milton, and the Metamorphosis of the Female Self. University of Delaware Press, 1998.

Gordon, Joan and Veronica Hollinger. Blood Read: The Vampire as Metaphor in Contemporary Culture. University of Pennsylvania Press, 1997.

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