"Caliban and the Witch: Women, the Body, and Primitive Accumulation" is a book written by the Marxist feminist scholar Silvia Federici. Published in 2004, this book explores the historical and contemporary oppression of women through the lens of capitalist development. Federici argues that the transition from feudalism to capitalism involved the dispossession of women from their means of subsistence and their oppression as reproductive laborers. This process, known as primitive accumulation, was characterized by the enclosure of common lands and the destruction of communal forms of life. Women, who were primarily responsible for reproduction, became central targets of control and subjugation by the emerging capitalist system. By focusing on the persecution and demonization of women as witches during the early modern period, Federici links the witch trials to the establishment of capitalist social relations.
By focusing on the persecution and demonization of women as witches during the early modern period, Federici links the witch trials to the establishment of capitalist social relations. She argues that the witch hunts were not merely religious or superstitious phenomena, but rather served as a way to discipline and terrorize women, ensuring their compliance with the emerging capitalist order. The persecution of witches not only repressed women's power and autonomy, but also facilitated the appropriation of women's knowledge and labor by the capitalist class.
Return from Witch Mountain (1978)
Alien kids with psychic powers, Tony (Ike Eisenmann) and Tia (Kim Richards), come to Los Angeles, California, for a vacation. After he is seen using his powers, Tony is kidnapped by an unscrupulous scientist (Christopher Lee, House of Dracula) and his greedy sidekick (Bette Davis), who want to exploit the boy’s abilities.
Reaction & Thoughts:
“That’s why I like science. They’re always discovering new expensive things.”
Against all expectations, Escape to Witch Mountain (1974) made tons of money for the Walt Disney Corporation. Not entirely unexpected, the studio decided that the success of the 1974 movie demanded a sequel. Malcolm Marmorstein, who had written Disney’s highly popular musical fantasy Pete’s Dragon (1977), came up with Return from Witch Mountain, which I ended up enjoying far more than I anticipated.
The movie continues the saga of extraterrestrial siblings with telekinesis powers, Tony and Tia. While Return from Witch Mountain isn’t as interesting as the somewhat somber Escape to Witch Mountain, the admittedly goofier sequel felt a bit tidier than its predecessor — the story moves along at an entertaining pace.
As he did with Escape to Witch Mountain, director John Hough (The Legend of Hell House) does his darn best to keep things from getting too cute. I was also pleasantly surprised to see that the visual effects were a tad better the second time around. While the optical effects are still nowhere near the level of Mary Poppins (1964), the illusions are good enough. Lalo Schifrin’s (Dirty Harry) music score is good, too.
Additionally, veterans Bette Davis and Christopher Lee inject credibility into many silly situations. Lee is genuinely creepy as the “mad scientist” who wants to use the kids for his own nefarious purposes. It’s as if no one bothered to tell him that this was a Disney flick — Lee’s imposing 6’5″ frame and potent voice tower over all others in the film.
Lee has good rapport with Davis. However, unlike Lee, Davis places her tongue into her cheek — she provides plenty of giggles as Lee’s greedy partner-in-crime. Child actors Ike Eisenmann and Kim Richards are as likable as ever. Character actor Anthony James (Burnt Offerings) has a few good moments as Davis’s shady nephew.
Conclusions & Final Thoughts:
Return from Witch Mountain may not have quite the amount of cheerleaders Escape to Witch Mountain has, but I liked it. The film is light entertainment, but I don’t really see that as a negative. The kids were great, and it was a lot of fun seeing heavyweight champions Bette Davis and Sir Christopher Lee together in a movie aimed at children. Followed by a short-lived TV series. Color, 94 minutes, Rated G.
Bette Davis AND hot mess express Kim Richards in a movie together? That’s almost too much to handle. I love 70s Disney, so much fun and the look of the films of this era are so fake and polished. Love it.
Federici also explores the ways in which women's bodies and sexuality were controlled under capitalism. She argues that the construction of women as property, as objects to be owned and controlled, is intrinsic to the capitalist system. The control over women's reproductive capacities – through forced sterilization, contraception, and the regulation of sexuality – is seen as a crucial mechanism for sustaining capitalist accumulation. This book challenges traditional Marxist analyses of capitalism, which often fail to adequately address the gendered dimensions of exploitation and oppression. Federici emphasizes the importance of recognizing women's struggles against capitalism as central to the broader struggle for liberation and social transformation. Overall, "Caliban and the Witch" offers a powerful critique of capitalism and patriarchy, shedding light on the historical and ongoing marginalization of women. Through her analysis, Federici presents a compelling argument for the necessity of feminist resistance and the need to confront the intersecting systems of oppression that continue to shape our society..
Reviews for "Witchcraft and Colonialism in Caliban and the Witch"
1. John - 2/5 - "Frederici Caliban and the Witch" was a disappointing read for me. While the book offers an interesting perspective on the witch-hunting era and draws parallels to capitalism, I found the writing style to be overly dense and difficult to follow. The author's excessive use of academic jargon made it feel like I was reading a research paper rather than a book intended for a general audience. Additionally, the constant repetition of certain ideas became tedious and monotonous. Overall, I believe this book would appeal more to individuals with a specific interest in feminist theory and history, rather than the casual reader.
2. Sarah - 2/5 - I had high hopes for "Frederici Caliban and the Witch," but unfortunately, it didn't live up to my expectations. While the book touches upon important themes like patriarchy and capitalism, I found the author's arguments to be lacking in depth and clarity. It often felt like she was jumping from one idea to another without providing sufficient evidence or analysis. Additionally, the heavy reliance on historical references and theoretical concepts made it a challenging read for someone without prior knowledge in those areas. Overall, I found the book to be overly complex and inaccessible, and I struggled to engage with the author's arguments.
3. Mark - 3/5 - "Frederici Caliban and the Witch" presents an intriguing exploration of the intersection of witch-hunting and capitalism. However, I felt that the book could have been more concise in conveying its message. The author's repetitive nature and constant reiteration of certain points made the reading experience feel tedious and unnecessarily prolonged. While the content of the book is thought-provoking, I believe it could have been condensed into a more accessible format for a wider range of readers. Despite its flaws, I appreciate the unique perspective offered by the author and the in-depth research conducted to support her arguments.
4. Emily - 2.5/5 - I found "Frederici Caliban and the Witch" to be a challenging read that required immense concentration to fully grasp the author's arguments. While the book raises important questions about the historical oppression of women and draws connections to capitalism, I felt that the writing style was overly intricate and filled with unnecessary jargon. The author's repetitive nature made it difficult to maintain interest throughout the book, and I often found myself losing track of the main points being made. While the overall message is significant, I believe it could have been presented in a more accessible manner for a broader audience.