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Realizing the Witch Science, Cinema, and the Mastery of the Invisible / Richard Baxstrom, Todd Meyers. [print]

By: Baxstrom, Richard [author]Contributor(s): Meyers, Todd | Project Muse []Material type: TextTextSeries: Forms of livingPublication details: New York : Fordham University Press, [(c)2015. ; Baltimore, Maryland : Project MUSE, 2016. Description: 1 online resource (pages cm.)Content type: text Media type: computer Carrier type: online resourceISBN: 9780823268276Subject(s): Häxan (Motion picture) | SOCIAL SCIENCE/ Anthropology/ Cultural | SOCIAL SCIENCE/ Folklore & Mythology | PERFORMING ARTS/ Film & Video/ General | Witches -- Europe | Witchcraft -- Europe -- History | Christensen, Benjamin, 1879-1959 | EuropeLOC classification: BF1584.E85BF1584.E85.M613.R435 2015Online resources: Click here to access online COPYRIGHT NOT covered - Click this link to request copyright permission: https://lib.ciu.edu/copyright-request-form
Contents:
Machine generated contents note: Introduction: What Is Häxan? ; Part I: The Realization of the Witch The Witch in the Human Sciences and the Mastery of Nonsense ; Evidence, First Movement. Words and Things ; Evidence, Second Movement. Tableaux and Faces ; The Viral Character of the Witch Demonology Part II: A Mobile Force in the Modern Age 1922 ; Sex, Touch, and Materiality Possession and Ecstasy Hysterias Postscript--It is very hard to believe.
Summary: "Benjamin Christensen's Häxan (The Witch, 1922) stands as a singular film within the history of cinema. Deftly weaving contemporary scientific analysis and powerfully staged historical scenes of satanic initiation, confession under torture, possession, and persecution, Häxan creatively blends spectacle and argument to provoke a humanist re-evaluation of witchcraft in European history as well as the contemporary treatment of "hysterics" and the mentally ill. In Realizing the Witch, Baxstrom and Meyers show how Häxan opens a window onto wider debates in the 1920s regarding the relationship of film to scientific evidence, the evolving study of religion from historical and anthropological perspectives, and the complex relations between popular culture, artistic expression, and concepts in medicine and psychology. Häxan is a film that travels along the winding path of art and science rather than between the narrow division of "documentary" and "fiction". Baxstrom and Meyers reveal how Christensen's attempt to tame the irrationality of "the witch" risked validating the very "nonsense" that such an effort sought to master and dispel. Häxan is a notorious, genre-bending, excessive cinematic account of the witch in early modern Europe--Realizing the Witch not only illustrates the underrated importance of the film within the canons of classic cinema, it lays bare the relation of the invisible to that which we cannot prove but nevertheless "know" to be there"--
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Holdings
Item type Current library Call number URL Status Date due Barcode
Online Book Online Book G Allen Fleece Library
Online
BF1584.E85B397 2015 (Browse shelf(Opens below)) Link to resource Available
Online Book Online Book G Allen Fleece Library
Online
BF1584.E85B397 2015 (Browse shelf(Opens below)) Link to resource Available

Machine generated contents note: Introduction: What Is Häxan? ; Part I: The Realization of the Witch The Witch in the Human Sciences and the Mastery of Nonsense ; Evidence, First Movement. Words and Things ; Evidence, Second Movement. Tableaux and Faces ; The Viral Character of the Witch Demonology Part II: A Mobile Force in the Modern Age 1922 ; Sex, Touch, and Materiality Possession and Ecstasy Hysterias Postscript--It is very hard to believe.

"Benjamin Christensen's Häxan (The Witch, 1922) stands as a singular film within the history of cinema. Deftly weaving contemporary scientific analysis and powerfully staged historical scenes of satanic initiation, confession under torture, possession, and persecution, Häxan creatively blends spectacle and argument to provoke a humanist re-evaluation of witchcraft in European history as well as the contemporary treatment of "hysterics" and the mentally ill. In Realizing the Witch, Baxstrom and Meyers show how Häxan opens a window onto wider debates in the 1920s regarding the relationship of film to scientific evidence, the evolving study of religion from historical and anthropological perspectives, and the complex relations between popular culture, artistic expression, and concepts in medicine and psychology. Häxan is a film that travels along the winding path of art and science rather than between the narrow division of "documentary" and "fiction". Baxstrom and Meyers reveal how Christensen's attempt to tame the irrationality of "the witch" risked validating the very "nonsense" that such an effort sought to master and dispel. Häxan is a notorious, genre-bending, excessive cinematic account of the witch in early modern Europe--Realizing the Witch not only illustrates the underrated importance of the film within the canons of classic cinema, it lays bare the relation of the invisible to that which we cannot prove but nevertheless "know" to be there"--

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