The witchcraft epoch, also known as the witch-hunt era, is a dark period in history characterized by widespread fear and persecution of supposed witches. This era spanned from the 15th to the 18th centuries, with its peak occurring in Europe during the 16th and 17th centuries. During this time, thousands of people, primarily women, were accused of practicing witchcraft and subjected to intense scrutiny, torture, and execution. The belief in witchcraft was deeply rooted in European society, with most people accepting the existence of witches and their ability to harm others through supernatural means. The reasons behind the witch craze are complex and multifaceted. A combination of religious, social, and political factors contributed to the widespread belief in witchcraft and the subsequent persecution.
After her massive success in Away from Her, Polley has continued to direct successful films. Her film Take This Waltz premiered at the Toronto International Film Festival to great acclaim and she is now in the works of making a 6-part mini-series based on Margaret Atwood's novel Alias Grace.
She also volunteered for the Ontario Coalition Against Poverty and the anti-nuclear organizations Canadian Peace Alliance and Performing Artists for Nuclear Disarmament. Yet she eschewed mainstream fame and gave her allegiance instead to the Canadian film industry, backing out of the star-making role of Penny Lane in Cameron Crowe s Oscar-winning Almost Famous 2000 to star in John Greyson s cryptic The Law of Enclosures 2000.
A combination of religious, social, and political factors contributed to the widespread belief in witchcraft and the subsequent persecution. The Protestant Reformation and its emphasis on the devil's influence played a significant role in fueling the fear and suspicion surrounding witches. Additionally, social tensions and economic hardships created an environment ripe for scapegoating and paranoia.
Sarah Polley
On this date in 1979, actress and filmmaker Sarah Ellen Polley was born in Toronto, Canada, to Diane (née MacMillan) and Michael Polley. Her British father and her mother both had acting backgrounds. She would learn as an adult that her biological father was actually film producer Harry Gulkin, with whom her mother had had an affair. ("Stories We Tell" documentary, 2012)
Her mother had died of cancer when Polley was 11. Her home life started a downward spiral, moving from an "incredibly boisterous place, with music playing all the time, and political discussions, and books being discussed, and laughter" to life with a depressed dad in which she was basically left to her own devices and stopped going to school. By age 15, she had lived with her brother’s ex-girlfriend, her first boyfriend and then alone. (The New Yorker, March 13, 2022)
"[The Ontario Coalition Against Poverty] took me in when I was 15, living on my own, with no community. They gave me a political education and a place to belong. It's why, to this day, I don't understand why many progressives are so focused on being 'civil' and 'polite' about the war on the poor," she later wrote. (Twitter, Nov. 27, 2020)
Asked as an adult how she got into acting, Polley said that as a child of about age 5 or 6, she and her older siblings (she was the youngest) were surrounded by it. "My dad had been an actor — he wasn’t when I was a kid, he was working at an insurance company to support the family — and my mom was a casting director and produced comedy shows." (Ibid., The New Yorker)
Her first credited movie role was in Disney's “One Magic Christmas” (1985), starring Harry Dean Stanton and Mary Steenburgen and filmed in Ontario. Her first major role was at age 8 as Ramona Quimby in the Canadian TV series "Ramona" (1988), based on Beverly Cleary's books. It aired for one season before going to video. Her role in the popular series "Road to Avonlea" (1990-96) made her financially independent and she was dubbed "Canada's Sweetheart" by some in the press.
"Avonlea" was picked up by the Disney Channel for U.S. distribution. At age 12 she attended an awards ceremony while wearing a peace sign to protest the first Gulf War. Disney executives asked her to remove it but she refused, not a decision the company liked.
"The Sweet Hereafter" (1997), in which she sang three songs and co-wrote the title track, brought her to the attention of more of the public outside Canada. Subsequent roles of note included "Go" (1999), "My Life Without Me" (2003), a remake of "Dawn of the Dead" (2004) and "The Secret Life of Words," opposite Tim Robbins and Julie Christie, for which she was nominated as Best European Actress by the European Film Academy.
Polley made her feature film directorial debut with "Away From Her" (2006), for which she won the Canadian Screen Award for Best Director and was nominated for the Academy Award for Best Adapted Screenplay. In 2017 she wrote the six-part miniseries "Alias Grace," based on the 1996 novel of the same name by her longtime friend Margaret Atwood , which Polley had started adapting in 2012.
She was married to film editor David Wharnsby from 2003-08. She married David Sandomierski in 2011. He went on to become a law school professor at Western University in London, Ontario. They have three children together. She suffered a debilitating concussion in 2016 when struck on the head by a fire extinguisher hung over a lost-and-found box at her pool and community center. It would seriously affect her ability to work for over four years.
"Women Talking," written and directed by Polley, had its world premiere at the Telluride Film Festival in September 2022. It's based on Miriam Toews’ 2018 novel about several Mennonite women who come to realize they have all been drugged and raped by men in their community.
Polley admires directors Ingmar Bergman and Terrence Malick, saying that Malick's "The Thin Red Line" (1998) “single-handedly brought me out of a deep depression. It shifted something in me. I’m an atheist, but it was the first time that it gave me faith in other people’s faith.” (Toronto Life magazine, October 2006)
PHOTO: Polley at the 2009 Venice Film Festival; Nicolas Genin photo under CC 2.0 .
"I don't have faith in anything but my fellow human beings and the world around me. I have strong faith in people, but not beyond people. The world is a beautiful place, it's a beautiful enough place for me to worship and have faith in and — it's enough for me."
—Polley, quoted in "She Should Talk: Conversations With Exceptional Young Women About Life, Dreams & Success" by Erica Ehm (1994)
Compiled by Bill Dunn
© Freedom From Religion Foundation. All rights reserved.
Compiled by Bill Dunn
The witch trials during this epoch were marked by injustice and a complete disregard for due process. Accusations were often based on hearsay and flimsy evidence, such as personal grudges or unusual behavior. The accused were subjected to brutal methods of interrogation and torture, such as the infamous water dunking or the use of the strappado. Confessions were coerced through coercion and, in many cases, led to the execution of innocent people. However, as the witch-hunt era progressed, doubts began to emerge among the educated elite regarding the validity of witchcraft accusations. Intellectual figures such as Johann Weyer and King James VI of Scotland wrote influential texts criticizing the witch trials and calling for a more rational approach. These voices helped shift public opinion, leading to a gradual decline in the belief in witchcraft and the subsequent persecution. The conclusion of the witchcraft epoch marked a turning point in history. The previously widespread and unquestioned belief in witchcraft began to fade away, replaced by a more rational and enlightened worldview. The brutal atrocities committed during the witch trials served as a stark reminder of the dangers of mass hysteria and baseless accusations. Today, the witchcraft epoch is seen as a dark chapter in human history, a cautionary tale of the consequences of unchecked fear and prejudice. It reminds us of the importance of critical thinking, due process, and the protection of human rights. While the belief in witchcraft may no longer hold sway in society, the lessons learned from this period remain relevant as we continue to grapple with issues of prejudice, scapegoating, and the pursuit of justice..
Reviews for "Witchcraft and Human Rights: Examining the Conclusion of an Era"
1. Name: John - Rating: 2/5
Review: I was really disappointed with "Conclusion of the witchcraft epoch". The storyline was confusing and poorly developed, with multiple plot holes that were never resolved. The characters were one-dimensional and lacked depth, making it difficult to connect and care about their fates. The writing style was also not engaging, with long and unnecessary descriptions that made the pacing slow and tedious. Overall, I felt like I wasted my time reading this book and would not recommend it to others.
2. Name: Sarah - Rating: 2/5
Review: "Conclusion of the witchcraft epoch" had an interesting concept, but the execution fell flat for me. The writing felt disjointed and lacked coherence, making it difficult to follow the progression of the story. The characters were also poorly developed, lacking motivation and depth. There were too many side plots introduced that added nothing to the main storyline, making the book feel unnecessarily convoluted. I was expecting more from this book, but in the end, I was left feeling unsatisfied and confused.
3. Name: Emily - Rating: 3/5
Review: "Conclusion of the witchcraft epoch" had potential, but it failed to live up to my expectations. While the concept was intriguing, the pacing was slow, and it took too long for the story to gain momentum. Additionally, the characters lacked depth and their actions and motivations felt unrealistic. The prose was also overly descriptive, sometimes to the point of being distracting. Overall, I found the book to be average at best and was left wanting more from the story and its execution.