By invoking romantic lyrical poetry through the musical bird, as a symbol of the redeeming power of love and song, the Countess seeks to liberate herself from her predetermined fate and from the constraints of the Gothic genre that keeps her captive. The Countess, however, is recast as a persecuted romantic figure longing for true love and expressing herself in melodramatic tones Her body is no longer the sign of her soullessness as vampire or male fantasy but the trapped bird whose voice can liberate her from the curse of repetition and prewritten scripts: In this sense, the motif of the bird song and the emphasis on voice fulfil an obvious metatextual function.
The vampire who laments her predicament reflects on her status as a character caught in old, exhausted and convention-ridden genres from which she can free herself only through an unexpected twist in the plot and return to child-like innocence. This turns her into a double of the author herself who, with characteristic self-irony, dramatizes her own struggle with a long and stifling legacy in order to ward off the curse of repetition.
But love, true love, could free me from this treadmill, this dreadful wheel of destiny…. My daughter, the last of the line, through whom I now project a modest, posthumous existence, believes […] that she may be made whole by human feeling.
That one, fine day, a young virgin will ride up to the castle door and restore her to humanity with a kiss from his pure, pale lips Like the bird, the Countess is free at last. She has overcome her predatory nature and compulsion to kill, and chosen her own destiny by recovering the childlike innocence of fairytale romance. It made a metallic, almost musical rattle. That is where the idea of the story originated, in that birdcage. Gothic fantasy is similarly displaced and transformed at the end of The Lady of the House of Love by twentieth-century history and the real enough horrors of the first-world war.
But it is the Count who has the last laugh, since the young man is off to a bloody war. As such, the vampire illustrates the dynamics of retelling at work in the fairy tale tradition itself, endlessly reinvented through new combinations of characters, motifs, and images as well as cross-generic and intermedial transpositions.
Historically, these genres are indeed interrelated, since the reception of French fairy tales in England influenced the development of Gothic fiction, out of which melodrama notoriously emerged This perversion is represented by the anthropophagous Beane family in Vampirella , as well as its well-known variation, vampirism, in both the radio play and the short story. Reformulation as she called it thus becomes a key strategy of rewriting that enables Carter to explore the potential for revival and renewal of formulaic sub genres When the cook kills a doe in place of the young Queen:.
What is more, the lie that the old Queen imagines to fool her son into believing that wolves ate his wife and children contaminates the language of the text, when she is described in animal terms immediately after:. Thus, the performative function of language is not only thematized in La Belle au bois dormant in the opening scene of the cursing of the newly-born baby but also enacted in the very text of the tale, to the point that the boundaries between prey and predator, story and discourse, are blurred.
Ackerman in , and the subculture of comic books and Hammer films so popular in the s. Courtesy of Dynamite Entertainment. Of course, there are some who might dispute that what they need lies outside of themselves. These people might say that they have done the work on themselves, have fostered self-love and a growth mindset, and now seek connection outside of themselves. In these cases, the familial and platonic relationships in our lives are often strong and deeply connected, not built on a fragile web of convenience. Now we just need patience.
We want to connect with someone at a soul level. We want magic in our lives. Not the perfect career or the perfect partner.
Not the perfect home in the perfect location. Not the best sex or the most intense chemistry. We worship entertainment and pray to our phones.
We try to make everything else in the world make us better when all we need to do is be still, get quiet, and remember who we are. I say remember because we are who we have always been; we just pretended, for a while, to be something else. But the core of us is the same as when we were children. If we want connection, we need to touch base with that child.
Yes, I mean the inner child. We need to discover who we are and what we actually want- not what we think we need.
We need to stop trying to connect outside of ourselves in our relationships and churches and jobs before we first connect with ourselves at a soul level. When we start investing the time and energy into those relationships, we might want to add other, newer connections to our lives. We want magic, but we are magic. We are deeply powerful and more magical than we might know. We are capable of great, meaningful connection, even in this disposable society. Oftentimes in a horror movie, moments of pure bliss such as these are followed by a last-minute twist. The happy ending can be credited in part to the real-life story concluding with no fatalities, but since Wan already took a number of serious creative liberties, he had every opportunity to alter the narrative so as to wrap up on a more sinister note like Insidious.
He does no such thing, letting the characters get off scot-free. In a weird way, the utterly cheerful finale is kind of daring, and this speaks to the success of the franchise as a whole. We also see more of their daughter, Judy, who gives them each a kiss when she comes down to eat breakfast in the morning. Although it was Ed wanting to keep Lorraine out of danger in the first film, this time, the tables are turned.
But the sequel makes clear that Ed and Lorraine are driven almost to an unhealthy degree by helping families who need them. When they ultimately go to assist the Hodgson family in Enfield, Lorraine becomes close with Janet Hodgson, and she talks with her about the importance of finding people in this world who you can place your complete and total trust in. Already a bit of an outcast, she is alone and afraid, and the Warrens naturally relate. But they could also take a leap of faith and trust in the decency of others, a choice these two select at every opportunity.
That faith is tested when video seems to prove that Janet was making the whole thing up. The Warrens start to head home, only to begin second-guessing their worst assumptions about Janet.
Thanks to this optimism and Ed dropping his luggage in a very convenient way , the Warrens return to the Hodgson house and are able to cast out the very real Valak. After leading us to believe the film might end on a needlessly upsetting note with Ed dying, Wan swerves in the other direction. The second film also reinforces that the whole series, at least thus far, is about our bonds with others and how these bonds, as well as the willingness of good people to stand up in the face of ever-present evil, will be our salvation in this terrifying world.