Echoes of Evil: Haunted Houses and Lingering Terrors in "The Amityville Horror" and "The Conjuring"
Bruce F. Kawin defines horror by its recurring motifs and its primary goal: to frighten and unsettle the audience (4). Beyond its entertainment value, horror functions within a dynamic semiotic space, where spatial structures encode tensions between order and chaos. Within Lotman’s semiosphere, the...
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Łódzkie Towarzystwo Naukowe
2025-06-01
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| Series: | Zagadnienia Rodzajów Literackich |
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| Online Access: | https://czasopisma.ltn.lodz.pl/Zagadnienia-Rodzajow-Literackich/article/view/2730 |
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| author | Julia Seltnerajch |
| author_facet | Julia Seltnerajch |
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Bruce F. Kawin defines horror by its recurring motifs and its primary goal: to frighten and unsettle the audience (4). Beyond its entertainment value, horror functions within a dynamic semiotic space, where spatial structures encode tensions between order and chaos. Within Lotman’s semiosphere, the haunted house serves as a centre-periphery battlefield, where the supernatural disrupts domestic stability, shifting the house from a structured centre into a peripheral, liminal space. This article examines the haunted residence trope in Andrew Douglas’ The Amityville Horror and James Wan’s The Conjuring, analysing how spatial boundaries define the interplay between demonic forces and human attempts to reclaim domestic space. Both films, despite distinct narratives, construct the haunted house as a contested space, where supernatural peripheries threaten to consume the centre. In The Amityville Horror, the house undergoes total peripheralization, rendering it uninhabitable and reinforcing the idea of an irredeemable periphery. In contrast, The Conjuring presents a liminal haunting, where the periphery can be exorcised, restoring the house’s central function. The periphery — comprising of basements, attics, gardens, and liminal spaces — functions as an intermediary zone, where supernatural incursions blur the boundary between the mundane and the horrific. By mapping the spatial dynamics of horror, this article explores how haunted houses embody cultural anxieties about the fragility of domestic order, demonstrating how the centre-periphery dichotomy structures horror’s evolving semiosphere.
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| format | Article |
| id | doaj-art-010de5e973be40358e9c459ba21e59c8 |
| institution | OA Journals |
| issn | 0084-4446 2451-0335 |
| language | English |
| publishDate | 2025-06-01 |
| publisher | Łódzkie Towarzystwo Naukowe |
| record_format | Article |
| series | Zagadnienia Rodzajów Literackich |
| spelling | doaj-art-010de5e973be40358e9c459ba21e59c82025-08-20T02:06:28ZengŁódzkie Towarzystwo NaukoweZagadnienia Rodzajów Literackich0084-44462451-03352025-06-0168110.26485/ZRL/2025/68.1/6Echoes of Evil: Haunted Houses and Lingering Terrors in "The Amityville Horror" and "The Conjuring"Julia Seltnerajch0https://orcid.org/0000-0003-0143-4874Maria Curie-Skłodowska University, Department of English and American Studies Bruce F. Kawin defines horror by its recurring motifs and its primary goal: to frighten and unsettle the audience (4). Beyond its entertainment value, horror functions within a dynamic semiotic space, where spatial structures encode tensions between order and chaos. Within Lotman’s semiosphere, the haunted house serves as a centre-periphery battlefield, where the supernatural disrupts domestic stability, shifting the house from a structured centre into a peripheral, liminal space. This article examines the haunted residence trope in Andrew Douglas’ The Amityville Horror and James Wan’s The Conjuring, analysing how spatial boundaries define the interplay between demonic forces and human attempts to reclaim domestic space. Both films, despite distinct narratives, construct the haunted house as a contested space, where supernatural peripheries threaten to consume the centre. In The Amityville Horror, the house undergoes total peripheralization, rendering it uninhabitable and reinforcing the idea of an irredeemable periphery. In contrast, The Conjuring presents a liminal haunting, where the periphery can be exorcised, restoring the house’s central function. The periphery — comprising of basements, attics, gardens, and liminal spaces — functions as an intermediary zone, where supernatural incursions blur the boundary between the mundane and the horrific. By mapping the spatial dynamics of horror, this article explores how haunted houses embody cultural anxieties about the fragility of domestic order, demonstrating how the centre-periphery dichotomy structures horror’s evolving semiosphere. https://czasopisma.ltn.lodz.pl/Zagadnienia-Rodzajow-Literackich/article/view/2730horror genre; Yuri Lotman; the haunted house; centre-periphery dichotomy; possession |
| spellingShingle | Julia Seltnerajch Echoes of Evil: Haunted Houses and Lingering Terrors in "The Amityville Horror" and "The Conjuring" Zagadnienia Rodzajów Literackich horror genre; Yuri Lotman; the haunted house; centre-periphery dichotomy; possession |
| title | Echoes of Evil: Haunted Houses and Lingering Terrors in "The Amityville Horror" and "The Conjuring" |
| title_full | Echoes of Evil: Haunted Houses and Lingering Terrors in "The Amityville Horror" and "The Conjuring" |
| title_fullStr | Echoes of Evil: Haunted Houses and Lingering Terrors in "The Amityville Horror" and "The Conjuring" |
| title_full_unstemmed | Echoes of Evil: Haunted Houses and Lingering Terrors in "The Amityville Horror" and "The Conjuring" |
| title_short | Echoes of Evil: Haunted Houses and Lingering Terrors in "The Amityville Horror" and "The Conjuring" |
| title_sort | echoes of evil haunted houses and lingering terrors in the amityville horror and the conjuring |
| topic | horror genre; Yuri Lotman; the haunted house; centre-periphery dichotomy; possession |
| url | https://czasopisma.ltn.lodz.pl/Zagadnienia-Rodzajow-Literackich/article/view/2730 |
| work_keys_str_mv | AT juliaseltnerajch echoesofevilhauntedhousesandlingeringterrorsintheamityvillehorrorandtheconjuring |