yule reflection

The Wicked Witch of the West is one of the most iconic characters in children's literature and has been immortalized in the popular film adaptation of "The Wizard of Oz." Created by L. Frank Baum, the witch is portrayed as a villainous and powerful antagonist who is determined to stop Dorothy and her friends from reaching the Emerald City and fulfilling their quest. The Wicked Witch of the West is known for her green skin and her menacing cackle, which has become synonymous with evil witches in popular culture. She is often seen wearing a pointed hat and flying on a broomstick, adding to her mystical and eerie image. In the story, the witch is the sister of the Wicked Witch of the East, whom Dorothy inadvertently kills when her house lands on her.

These texts reflect some very interesting approaches, in order to observe the fantastic genre and its subgenres from different perspectives. Therefore, we invite readers to discover in these cultural studies a content in which the nuances between fantasy, science–fiction and horror can be appreciated. However, we also invite the readers to cross that frontiers to discover another field. A stranger field.

Or as the collective empowerment of four girls Nancy, Bonnie, Rochelle and Sarah are fourteen years prisoners of bullying by the conditions of gender, race or social class in the in californian college. Therefore, we invite readers to discover in these cultural studies a content in which the nuances between fantasy, science fiction and horror can be appreciated.

In the story, the witch is the sister of the Wicked Witch of the East, whom Dorothy inadvertently kills when her house lands on her. Enraged by her sister's death, the Wicked Witch of the West seeks revenge on Dorothy and her companions. She sends out her winged monkeys, enchanted poppies, and even tries to trick Dorothy with a magical golden cap that controls the monkeys.

Moreno, Javi (2019): "The Craft: Riffs, adolescence and witchcraft" En In a Stranger Field. Studies of Art, Audiovisuals and New Technologies in Fantasy, SciFi and Horror Genres. Association of Development and Dissemination of the Fantastic Gender “Black Unicorn”. pp.267-287, ISBN: 978-84-09-16300-7

«Now is the time, this is the hour. Ours is the magic. Ours is the power»: declaration of intentions pronounced during the first scenes of The Craft (Andrew Fleming, 1996). An allegation that, in magical words, serves as an enchantment for acquisition of powers. Or as the collective empowerment of four girls: Nancy, Bonnie, Rochelle and Sarah are fourteen years prisoners of bullying by the conditions of gender, race or social class in the in californian college. Starring from a cinematic imagination that plays between the bad witch and the complacent witch, a re-reading of magic is proposed as a tool of subversion. A film, after more tan two decades of exhibition, has been a cult film about and for witchcraft. A foundation of references and allusions to the occult (some fundamental bases by specialists in esotericism) that ended with a Gothic aesthetic, a soundtrack and a grunge-decadent spirit to learn everything about a ninety witch.

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These texts reflect some very interesting approaches, in order to observe the fantastic genre and its subgenres from different perspectives. Therefore, we invite readers to discover in these cultural studies a content in which the nuances between fantasy, science–fiction and horror can be appreciated. However, we also invite the readers to cross that frontiers to discover another field. A stranger field.

In: SFRA Review, Issue 320 (Spring 2017), pp. 21-2.

Bibliographic bulletin of international secondary sources on popular literature and film: science fiction, fantastic, fatasy, mystery and detective fiction, espionage, comics, westerns, etc. Bulletin bibliographique des études internationales sur la littérature de genre et le film populaire: science-fiction, fantasy, roman policier, western, bande dessinée, etc.

In a Stranger Field

Fantasy, as a part of the artistic expressions in a society, lets us approach to the way of thinking and acting of the people in the past. However, the passage of time and the mass culture have dissolved part of its meaning. In this work, we will try to analyze the possible relations between the yōkai genre, a subgenre of Japanese fantasy, and the society that created it, paying special attention to the sources and interpreting the social, political and cultural context of the Japan of the eighteenth century. Keywords: Japan, Society, Fantasy Genre, Yōkai.

Bulletin bibliographique des études et essais internationaux sur la science-fiction, le fantastique, la fantasy, le roman policier, etc. BBibliographic bulletin of international secondary sources about popular literature and film: science fiction, fantasy, mystery and detective stories, comics, westerns, etc.

Slender Man is Coming

This chapter takes as its point of departure the singular “Slender Man stabbing” incident in Waukesha, Wisconsin, an incident that defines one extreme of a continuum of “ostension,” an attempt to act out or show the (legend) narrative in real life. I compare this case, which begins with a set of photographs of paranormal phenomena, to the equally singular case of the Cottingley “fairy photographs.” I will compare these incidents to rethink ostension as a kind of indexicality—a sign that works by real existential contact or contiguity, as a photograph indexes its object. I will also attempt to locate discussions of the ostension of this monster within an explicit consideration of media forms for portraying the monstrous. I will treat monsters as a species of “character” defined by its portability, its ability to move across a series of linked genres or media forms.

This article investigates post-war flying saucer narratives within US popular culture. After the initial sighting by Kenneth Arnold in July 1947 which triggered the phenomenon, the flying saucer began appearing in a variety of media and material forms directed at numerous audiences. Newspaper reports, films, toys, and novels utilised this new cultural form. The flying saucer narrative, its beginnings, public response, and domestication, are considered as a whole and through an individual text. In particular, this article will consider Lucrece Hudgins Beale’s 1954 children’s story Santa and the Mars King – perhaps the earliest intersection of flying saucers and Santa Claus. Santa and the Mars King was one of the annual children’s stories Beale wrote between 1942 and 1968. These stories were serialised and syndicated by the Associated Press to member newspapers, beginning with Santa and the Skeptic and ending with Santa and the Hippies. Each involved a topical theme, presenting the concerns of the time comedically, but not entirely carelessly. Appearing ten years after Arnold’s 1947 sighting, Beale’s story reveals the way the saucer could become intertwined with other cultural mythologies of the age. Santa and the Mars King begins with a flying saucer sighting, a sceptical response from the public, and its investigation by the child protagonist, named Tom. Discovering that the saucers have disturbed local witches and Santa’s reindeer, threatening Christmas, Tom flies to Mars and attempts to save the day. Beale’s text highlights the malleability of the flying saucer myth, particularly the disconnection between visual identity and other signifiers; the way flying saucer narratives raised issues of belief and superstition; and the way cultural processes sought to contain and domesticate unfamiliar, uncanny elements.

Fantastika Journal: Performing Fantastika

A Cure for Wellness, directed by Gore Verbinski, is a suspenseful thriller that has left audiences bewildered by its blending of cinematic style. It can be analysed from multiple perspectives due to its multifaceted themes and its ability to transgress genre. Since its release, this misunderstood film has been poorly received due to an abundance of styles that prevent any clear understanding of the narrative purpose.The director’s choice of a hybrid genre distorts familiar forms to force his audience to recognise the warped face of the modern world. In explaining the purpose of supernatural in fiction, Alexa Wright states that at: “Times of social and moral unrest, in particular, the visible presence of a human monster offers an important form of reassurance that society has a means of dealing with disruptive forces in play” (Wright 166). Gore Verbinski’s ‘cure’ is never defined, and it is up to the viewer to decide what constitutes the film’s defining categories of ‘well’ and ‘unwell.’ Rather than accomplishing a cohesive thematic purpose, A Cure for Wellness is more influential in its cinematic hybridity and transgressive use of genres, and this could be the cure that Verbinski was aiming for: an antidote to previously restricted narratives. Through a contradiction of convention and narrative style, this film succeeds in mirroring anxieties concerning the decline in human morality, addressing ‘the plague’ that has infected the modern world.

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Throughout the story, the Wicked Witch of the West is portrayed as cunning and manipulative, constantly trying to outsmart Dorothy and her friends. She uses her powers to create obstacles and dangers for the group, but ultimately fails to defeat them. One of the most memorable scenes involving the witch is when she melts after Dorothy throws a bucket of water at her. This scene has become an iconic moment in cinema history and symbolizes the defeat of evil. Despite her villainous nature, some interpretations of the character suggest that the Wicked Witch of the West may not be entirely evil. In Gregory Maguire's novel "Wicked: The Life and Times of the Wicked Witch of the West," the witch is portrayed as a complex character with a tragic past, challenging the notion of good and evil. Overall, the Wicked Witch of the West has become a timeless character in literature and film, representing the archetype of the wicked witch. Her portrayal has captured the imaginations of audiences for generations and continues to be a beloved and memorable part of "The Wizard of Oz.".

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