Titlebook: Critical Approaches to the Films of M. Night Shyamalan; Spoiler Warnings Jeffrey Andrew Weinstock Book 2010 Jeffrey Andrew Weinstock 2010 c

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elastic

The Night Book, or The Mirror and the Pager against the children’s bedroom door. Surprised, inquisitive. What is he doing? We don’t know. What is happening? He himself would not be able to explain. Graham has been summoned by “something” he doesn’t know. He is not even sure that there is“something” or that there could be a sign. But the ord

MIRTH

Making Sense of M. Night Shyamalanorror” (Gelder, . 1 and 6, “Vampire” 30). In order to explore the “space of possibles” (Bourdieu, . 30) that texts interact with and come culturally to occupy, I will argue that different types of horror films are intended to take up positions within this “space of possibles,” as authors, via their

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Prognosis

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Unbreak My Heartell a story of a man, David Dunn (Bruce Willis), who learns he is a superhero foregrounds the commonalities between superhero narratives and melodramas. Most significantly, the superhero genre’s excessive expression of moral certainty indicates hysterical overcompensation, an extreme response to cri

ANA

Simulations of Evil in M. Night Shyamalan’s vington Woods are verbalized. This scene marks the beginning of a series of conceptual turning points in the plot of the film through which we discover not only that the fearful creatures that inhabit the woods are not real but also that the film itself is not set in the past but anachronisti-cally

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helper-T-cells

What Ever is , to M. Night Shyamalanbstances—viruses, aliens, ideas, forms, gasses, toxins, brain cells. Given the unpredicted geopolitical aggressiveness of Russia in the wake of the Second World War (even the radically diminished version of it that was featured in a certain folksily arrogant joke of the time “that the Russians could

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Critical Approaches to the Films of M. Night ShyamalanSpoiler Warnings