Possession films
the ecstasy of rapture as a spectacle of baroque eroticism
DOI:
https://doi.org/10.35699/2237-5864.2022.33538Keywords:
Baroque, Horror cinema, Possession, EroticismAbstract
The purpose of this article is to investigate the genesis of divine and demonic possession images in film. Our scope includes the following movies: Mother Joan of the Angels (1961), The Demon (1963), The Exorcist (1973), The Bloody Exorcism of Coffin Joe (1974), and Stigmata (1999). The hypothesis is that the genesis of these images lies in baroque art, based primarily on possession cases of the time and on catholic mysticism, translated in spiritual exercises, divine rapture and works of that era, including sculptures, paintings and texts. The conclusions in this text refer to the relations between eroticism and violence, both channeled in works of art and in film images, in an attempt to at times avoid, other times make a spectacle of sins of the flesh.
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