The origin of the witch hat is shrouded in history and folklore. The distinctive pointed hat has become synonymous with witchcraft and is often depicted in popular culture as an iconic symbol of witches. One theory about the origin of the witch hat dates back to the medieval period. During this time, women who were accused of practicing witchcraft were often subjected to public humiliation and persecution. They were made to wear various types of hats, one of which was a pointed hat. It is believed that these hats were designed to attract attention and label the women as witches, as the pointed shape drew comparisons to horns or the peak of a mountain, which were associated with evil.
First performed on Broadway in January of 1953, The Crucible was an allegory for the Red Scare instigated by Senator Joseph McCarthy. McCarthyism operated much like the witch trials in Massachusetts Bay, and also those in Denmark, stoking paranoia through gossip and eschewing hard evidence. False convictions (whether for allegiance with the Soviet Union or the devil) encouraged new accusations driven by escalating fear and opportunism.
This inversion is an extension of Trump s presentation of himself as an outsider inside the White House an effort to add the moral righteousness of the politically powerless to his political capital. Initiated by an ordinance that Christian passed against witches and their accomplices in 1617, witch hunting legitimized gossip as a basis for persecution.
It is believed that these hats were designed to attract attention and label the women as witches, as the pointed shape drew comparisons to horns or the peak of a mountain, which were associated with evil. Another theory suggests that the witch hat evolved from the hats worn by women in medieval Europe. Women of the time period often wore tall, pointed hats as a fashion statement.
‘Witch Hunt’ Review: The Entire U.S. Becomes a Modern-Day Salem
A teen’s family runs a safe house for persecuted witches in this supernatural tale stronger on political allegory than thrills or chills.
Plus IconDennis Harvey
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Courtesy of SXSWStriking a middle ground between teen fantasy “The Craft” and deadly serious political allegory “The Handmaid’s Tale” is “Witch Hunt,” writer-director Elle Callahan’s second feature. Her first, the 2019 “Head Count,” was a strikingly assured supernatural mind-bender, albeit one a little too understated for some genre fans. By contrast, this sophomore effort is comparatively conventional and straightforward in depicting paranormal themes, even given the added fillip of overt current-events commentary. It’s a more uneven work nonetheless, with some odd storytelling missteps and signs of budgetary constriction. Still, the fanciful tale of minority persecution in a U.S. not so different from our offscreen reality should easily attract acquisition interest around its SXSW premiere.
A grim prologue shows a manacled woman burned at a present-day New England stake in front of her two redheaded daughters. We then jump ahead three months to meet SoCal high schooler Claire (Gideon Adlon), whose classmates including mean-girl friend Jen (Lulu Antariksa) variously tease, bully and avoid any peers suspected of having “magic in the blood.” They also get homework assignments like writing papers on the 11th Amendment — a recent Bill of Rights addition that serves to deny those same folk the rights normal citizens enjoy. Being a witch isn’t strictly illegal … yet. But things are heading in that direction, with rising levels of prejudicial public hysteria, and federal Bureau of Witchcraft Investigation agents like Hawthorne (Christian Camargo) acting like bloodthirsty Grand Inquisitors.
All of which is rather awkward for Claire, who lives in a rambling remote farmhouse with widowed mother Martha (Elizabeth Mitchell) and twin younger siblings (Cameron and Nicolas Crovetti). She can’t invite friends over, or happily join in witch-bashing banter, because mom uses their home (which conveniently has hidden passageways between walls) as a safe house on a sort of underground railroad smuggling witches to Mexico, which is still granting them asylum.
The family has already received incoming refugees Fiona (Abigail Cowen) and Shae (Echo Campbell) — the two sisters who saw their mother’s gruesome demise back east — when their last “guest” gets caught en route to the border by Hawthorne and fellow BWI personnel. She too meets a fiery end, while a net tightens to ensnare any fleeing-witch enablers in the area.
A classic sullen teen, Claire is further disgruntled by the new arrivals. But she can’t help growing intrigued by friendly, seemingly serene, slightly-older Fiona, or feeling sorry for poor Shae, whom her own same-aged brothers refuse to play with. Meanwhile, Claire worries she might have some forbidden “powers” herself (despite lacking the telltale red hair). When she recklessly takes Fiona to a local bar, they inadvertently create a telekinetic ruckus that is sure to blow the family’s already-imperiled cover.
That Claire would endanger them all thus strains credulity. There are other misjudged elements, like an early encounter with a demon or some such that seems meant as a major plot element, yet never gets explained or utilized again. “Head Count” rested on unsettling ambiguity and tension, two things lacking here. It had little use for action, which Callahan doesn’t show much flair for in “Witch Hunt,” where it’s more important. Beyond a couple decent jump scares, the fantastical elements are handled in pedestrian fashion. Even a principal villain’s fate staged so it offers scant satisfaction, or even clarity. Some subpar effects work adds to a sense that Callahan may have had to cut corners in executing her full original conception.
What does get articulated fully here is the sociopolitical dimension, in which fantasy ideas invariably amplify punitive recent real-world trends regarding the rights of women, minorities and immigrants, complete with a heavily patrolled border “wall.” There’s also room to address xenophobia, prejudice and misogyny cloaked in patriotism, plus the popular pull worldwide toward fascistic leaders and police-state policies.
Some of this is pretty on-the-nose, if not excessively so for something partly aimed at a YA-type audience. Still, witchery works well as a metaphor, here being another thing blamed as a “choice” when in fact its practitioners were “born that way.” The script makes casual, interesting use of traditional superstitions, as well as the Salem trials’ reverberations. (Just what witches can or can’t do is left rather murky, though.) More a supernatural drama than horror, or even a thriller, “Witch Hunt” is in the end primarily an effective cautionary fable about intolerance, sweetened with genre elements.
In a competent cast, Cowen and Mitchell fare best. Production values are OK but sometimes feel a little sparse, with design contributions professional but uninspired. The modest “Head Count” also had a firmer grip on making the most of compositions and pacing.
These hats were typically made of a stiff material and had a conical shape. As accusations of witchcraft increased, it is said that the pointed hat became associated with witchcraft and the occult. In addition to its association with witchcraft, the witch hat also has ties to religious symbolism. In some pagan traditions, the conical shape of the hat is believed to represent a cone of power, which is used to focus energy during magical rituals. It is also thought to symbolize the connection between the earthly realm and the spiritual realm. The image of the witch wearing a pointed hat was further popularized in the 19th century through literature and illustrations. Authors and artists often depicted witches with long, flowing robes and pointed hats, adding to their mysterious and magical allure. Today, the witch hat continues to be a recognizable symbol of witchcraft and Halloween. It is often used in costumes, decorations, and various forms of media. Whether its origins lie in history or folklore, the witch hat has become an enduring symbol that represents both the fear and fascination associated with witchcraft..
Reviews for "The Witch Hat and the Witch Trials: Separating Fact from Fiction"
1. Sara - 2/5 - I was really disappointed with "Witch Hat Oriin." The storyline seemed promising, but it just fell flat for me. The character development was lacking, and I couldn't connect with the protagonist at all. The art style was beautiful, but that alone couldn't save the lackluster plot. I found myself struggling to stay interested and just couldn't get into the book. I was hoping for a magical and captivating experience, but unfortunately, I was left feeling underwhelmed.
2. Mike - 2/5 - As a fan of fantasy manga, I was excited to read "Witch Hat Oriin," but it turned out to be a letdown. The pacing was inconsistent, with some parts feeling rushed and others dragging on unnecessarily. The world-building was also poorly executed, leaving me confused and disconnected from the story. The plot felt disjointed, lacking a clear direction. Additionally, the characters were one-dimensional and uninteresting. Overall, "Witch Hat Oriin" did not live up to my expectations and left me feeling disappointed.
3. Emily - 3/5 - While "Witch Hat Oriin" had its moments, it didn't fully captivate me. The artwork was stunning, and the magical elements were intriguing, but the story lacked depth. The pacing felt off, with some parts rushing through important details, while others dragged. The characters felt underdeveloped, and I couldn't connect with them on an emotional level. Despite its potential, "Witch Hat Oriin" failed to leave a lasting impression on me.
4. John - 2/5 - I had high hopes for "Witch Hat Oriin," but sadly, it fell short. The plot felt disjointed and lacked a clear direction. The world-building seemed intriguing at first, but it remained superficial and shallow throughout the story. The magic system, which could have been a unique aspect, was poorly explained, leaving me confused. The characters were forgettable and lacked depth. Overall, "Witch Hat Oriin" failed to deliver a compelling and immersive reading experience.