While this was not necessarily a widely-held view (i.e. Almost immediately after the family reunion Rachel witnesses the slaughter of her mother, father and brother just when they, and other Jewish families, seemed on the road to freedom. Judith Anderson’s intriguing and creepily effective performance also prompted thought about the way her part was written compared to the final film product. We thought it was interesting that the most suspenseful scene of the film was not heavily scored. In The Singer Not the Song, these were especially tied to certain tropes of the Western. Such a tense marriage can be related to other gothic heroines in films we have recently screened. We found the character of Muntze more interesting, however. It was thought that some uncertainty, however, allowed Rachel/Ellis and Kuipers some moral leeway. Many of us thought the costume, especially the wigs represented differing time periods. Opening the conference, Catherine’s paper reflected upon how the Gothic heroine’s white dress does not stay white over the course of the tale and instead becomes marked and stained, with this tainting becoming a trace for the heroine’s narrative exploits. Second, it is poignant that Rebecca denies its central heroine a name as this conference demonstrated the shifting parameters of identity afforded to the Gothic’s female protagonist. Anacleto accuses the priest of betraying him, and indeed Father Keogh seem more tormented by this than by his illicit romance with Locha. It is significant that Alicia is not allowed access to all areas of her new home. This was even the case after she accidently stumbled across the evidence of his attempts to forge her signature, which led to his subsequent violent relapse of illness. This is especially seen in her drink-driving which conveys that following her father’s imprisonment for treason she does not care if she lives or dies. De Havilland and Davis’ acting was also markedly different. This was her main Hollywood role and like other emigres who had fled the Nazis, it is ironic that she played a Nazi in Notorious. It was said that the key which played such an important role in the film also had an interesting afterlife. Having been informed by Father Keogh of Locha’s supposed love for him, Anacleto, Anacleto attempts to kiss her. In Rachel’s new, non-Jewish, identity of Ellis de Vries she has joined the Dutch resistance. Anacleto does not achieve this by undermining the priest’s religious beliefs (despite his questioning of the logic of these) but through Locha’s love for Father Keogh. Father Keogh takes these attempts on his life in his stride, perhaps because, as he tells Anacleto, everyone must face suffering – especially priests. Now he is indeed corrupted by power, with a very high opinion of himself, and is addressing the crowd as a leader might. New York and London: Routledge. Thornhill speaks of how Lockwood’s hair is styled into a vulva shape, and that some of her costumes compliment this phallic design. First, the conference emphasised again the importance of the heroine protagonist to the Gothic mode and how this form of storytelling intersects with wider historical and social discourses, particularly in relation to feminism. Another key example occurs in relation to Akkermans. While Locha continues to be a one-dimensional and formulaic victim, the line between hero (Father Keogh) and villain (Anacleto) becomes increasingly blurred. Bogarde especially disagreed with the casting of Mills as the priest, being of the opinion that the man Locha falls for should be played by a younger actor. Even when Davis/Stanley is sat listening to a gramophone record she is performing a dance with her shoes. Apologies for the spoiler, but you can find the story in full here: http://www.theguardian.com/books/2011/apr/30/the-doll-daphne-du-maurier. the opinion of most filmgoers), it is worth considering how it might relate to Bogarde’s next film, Victim. either way, The rogue Bogarde played in Esther Waters did not deliberately forsake the heroine, while in Hunted his killer-on-the-run sensitively cared for a small boy. It was telling that a few in the group who had seen the film before had misremembered the colour of a dress Rachel/Ellis wears at one point. Sound was more dominant elsewhere as close ups of a ringing phone appeared on two notable occasions. (You can see our earlier discussion of this film here: https://blogs.kent.ac.uk/melodramaresearchgroup/2013/10/10/summary-of-discussion-on-of-human-bondage/) Stanley and Mildred are both irredeemable characters, devoid of any moral compass. The fact Alicia appears in modern fashionable clothes contrasts to several other gothic heroines. Indeed, several papers cited how this particular strand of the Gothic originates from the Bluebeard tale and thus this tradition of the Gothic focuses upon the heroine’s relationship to her mysterious and dangerous husband, a reading which can be extended to reflect upon wider societal patriarchal structures.
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