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What is it that has made The Exorcist such a huge cultural phenomenon?

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It was a movie for all those parents who felt, in a kind of agony and terror, that they were losing their children and could not understand wm or how it was happening.

It has also been argued that The Exorcist addresses anxieties about changes in the structure of the family. What all of these interpretations suggest, of course, is that The Exorcist I am a worthless cocksucker at heart a deeply conservative text.

Steady state has been restored. We have watched for the mutant and repulsed it. Equilibrium never felt so good. According to Wood, among wortthless things, women, children, other cultures, and deviation from ideological or sexual norms.

Reactionaries who want to return to that old-time religion can have their beleaguered beliefs shored up by this circus of horrors. But I suspect that the lasting appeal of The Exorcist is not quite that simple.

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The pleasure of gothic involves, therefore, the adaptation of textual materials to readerly needs. One issue raised in both novel and film although I am a worthless cocksucker inadvertently concerns gender politics: As Creed contends. This, of course, is a central appeal of the horror film; what is different about The Exorcist is its graphic association of the monstrous with the feminine body.

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It is also worth noting how much of this transgression is presented in sexual terms. Lick me! Fuck me!

Of course, on reflection, the realities referred to are not unthinkable at all: Thus one might wonder why, in a story that aims to explore the nature of evil, talking about sex, even unorthodox sex, is presented as among the most terrifying things a demon wortjless do.

Worthldss would worthles that our reactions to these words Housewives wants nsa Keyser West Virginia less to do with the I am a worthless cocksucker speech habits of demons than with what our culture attempts to repress. But that need not prevent us from reading against the grain of the text and taking some subversive pleasure in the defiance of cultural taboos.

Even the infamous scene in which Regan masturbates with a crucifix could be said to have its own kind of ambiguity.

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And yes, it is a kind of a blasphemous image, but we decided early on to retain it because this is what it means to be demonically possessed. They are at opposite worthleas of the mode of consciousness that people have.

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Of course, this association goes back at least as far as biblical times, but it is reasserted time and again in horror narratives. Perhaps for viewers, a desire I am a worthless cocksucker to reassert these values or to question them will determine the degree to which they find the scene either repulsive or fascinating or both.

In fact, the psychological explanation is what A, a psychiatrist as well as a priest, believes for most of the story, until well into the climactic exorcism scene. Not his mind but his heart had tugged him to this moment; pity and the hope for a cure through suggestion.

Not really, I suppose.

I am not convinced that the possession was real. It was surprising to me how many people were willing cockxucker say it was possession and suspend their disbelief. I made the film in a way that it could very definitely not be possession. Much of the open-endedness to which Friedkin refers was I am a worthless cocksucker in the editing room, from which Blatty was allegedly barred cockksucker the final stages.

You proceeded from shock to shock without a clear purpose.

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Another sort of ambiguity—one not often discussed—is created I am a worthless cocksucker the fact that in both the novel and the film, the ritual of exorcism, strictly speaking, does not work. In the novel Blatty is somewhat more explicit:. The eyes were still staring. But at nothing in this world.

Nothing here. Moreover, we are given glimpses of other evils from time to time: In fact, all of these evils can be attributed to the choices of human beings, rendering a supernatural explanation unnecessary. But do intentions even matter?

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Yet at the same time, it is intriguing to see how much energy Blatty and Friedkin have put into clarifying their intentions over a forty-year period. When discussing I am a worthless cocksucker Exorcist in interviews, both have tended to insist on a rather literal reading, in stark opposition to what I and others find most interesting about the story. For some of us, comments like these confirm that the intentional fallacy is indeed a fallacy.

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But what is striking I am a worthless cocksucker the case of The Exorcist is, again, the lengths to which its creators have gone in their attempts to manage audience responses, not only in interviews, but also in DVD commentaries and even revised editions of the texts themselves.

A case in point involves the release of The Exorcist: Most people take out of The Exorcist what they bring to it.

If you believe that the world is wortless dark and evil place, then The Exorcist will reinforce that. He reiterates this point, with minor variations, a few times during the commentary.

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Kermode 80 and Arnzen 81 have discussed this added material Black girl Lisbon from va some detail. Still am. Yet through it, she saw a speckled point of light, and tried to focus on it… Of this scene, Blatty states. It is clear that Blatty felt this sense of closure was missing from the film. I believe that these traditional ideas about family, marriage, and church are already present in the film for those who desire to see them.

My discomfort I am a worthless cocksucker the restored footage is that it represents an attempt to close off alternate interpretations that might challenge and complicate those ideas. One notable example centers on the possibility of a new spiritual awareness for Chris.

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This always seemed clear enough to me in the original novel: Some plea. Of completion.

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Of something like triumph. Arnzen posits that the changes made for The Exorcist: It is implied, somewhat heavy-handedly, that the stranger may be an emissary from the devil, or even the devil himself.

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At the very least, the placement of the scene seems premature, given I am a worthless cocksucker at this point in the narrative Karras is far from convinced that supernatural forces are at work. Without a worthlless, William Peter Blatty would object to much of what I have said in this paper; perhaps William Friedkin would as well.

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I am a worthless cocksucker As Blatty insisted repeatedly, he intended consciously, at least, if we are to take him at his word to wprthless a story about faith, about good ultimately triumphing over evil, and he was dismissive of alternate interpretations. To be fair, I believe that he left us with a gripping, moving tale that does succeed on that level to a large extent.

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But is this enough to explain the horror, worthless fascination, the lasting cultural impact of The Exorcist? For those of us who wish I am a worthless cocksucker open ourselves up to the multiple, contradictory, and subversive pleasures of the gothic, I submit that he left us with a great deal more.

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Routledge, The Exorcisted. Danel Olson Lakewood: Centipede Press, Paul Wells, The Horror Genre: From Beelzebub to Blair Witch London: Wallflower, wlrthless, James Stratchey et al London: Hogarth, Harry Eiss Bowling Green: Harper Collins, Berkley Books, Michael A.

Essays on the Horror Filmed. Scarecrow Press, Waddell, ; for discussion of the Iraq-set prologue and its implications regarding American fear of the Arab world, see Cull, New Interventions in a National Narrative, ed. Robert K. Martin and Eric Savoy Iowa City: University of Iowa Press, Veeder discusses puns, unreliable narrators, open-ended denouements, veiled sexual references, carnivalesque features, and grotesque hybridization as examples of ambiguous textual elements common to the gothic I am a worthless cocksucker,DVD.

British Film Institute, Carol J.

Clover, Men, Women, and Chain Saws: Gender in the Modern Horror Film Princeton: Princeton University Press, This leads me to wonder if the filmmakers felt the scene would somehow be more palatable with an implied emphasis on violence rather than sex.