Traumatic Seclusion in M. Night Shyamalan’s Garrison Trilogy: Signs (2002), The Village (2004) and The Lady in the Water (2006)
This paper argues that M. Night Shyamalan’s Signs, The Village and The Lady in the Water turn around the need to find refuge from violence, in an updated version of Northrop Frye’s garrison motif. The protection that these refuges offer is nevertheless put to the test by the presence of threatening,...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | España |
| Institución: | Universidad de Sevilla (US) |
| Repositorio: | idUS. Depósito de Investigación de la Universidad de Sevilla |
| OAI Identifier: | oai:idus.us.es:11441/160325 |
| Acceso en línea: | https://hdl.handle.net/11441/160325 https://doi.org/10.28914/Atlantis-2023-45.2.07 |
| Access Level: | acceso abierto |
| Palabra clave: | M. Night Shyamalan cultural trauma trauma therapy violence garrison mentality monsters in film trauma cultural terapia del trauma violencia mentalidad de la guarnición monstruos en el cine |
| Sumario: | This paper argues that M. Night Shyamalan’s Signs, The Village and The Lady in the Water turn around the need to find refuge from violence, in an updated version of Northrop Frye’s garrison motif. The protection that these refuges offer is nevertheless put to the test by the presence of threatening, monstrous creatures. These creatures can be defined as projections of two traumatic experiences: on the one hand, the terrorist attacks of September 2001; on the other, and more significantly, the violence that, according to Shyamalan, is rampant in North American society |
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