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oapen-20.500.12657-300782024-03-25T09:51:47Z Realizing the Witch Baxstrom, Richard Meyers, Todd Media & Communications Häxan Satan Witchcraft thema EDItEUR::N History and Archaeology::NH History Benjamin Christensen’s Häxan (The Witch, 1922) stands as a singular film within the history of cinema. Deftly weaving contemporary scientific analysis and powerfully staged historical scenes of satanic initiation, confession under torture, possession, and persecution, Häxan creatively blends spectacle and argument to provoke a humanist re-evaluation of witchcraft in European history as well as the contemporary treatment of female “hysterics” and the mentally ill. In Realizing the Witch, Baxstrom and Meyers show how Häxan opens a window onto wider debates in the 1920s regarding the relationship of film to scientific evidence, the evolving study of religion from historical and anthropological perspectives, and the complex relations between popular culture, artistic expression, and concepts in medicine and psychology. Häxan is a film that travels along the winding path of art and science rather than between the narrow division of “documentary” and “fiction.” 2018-05-18 23:55 2019-12-19 13:55:47 2020-04-01T12:44:42Z 2020-04-01T12:44:42Z 2016 book 650022 OCN: 1076725786 9780823274871 http://library.oapen.org/handle/20.500.12657/30078 eng application/pdf n/a 650022.pdf Fordham University Press 10.26530/oapen_605860 103472 10.26530/oapen_605860 f501c751-7a51-484b-b90a-ed0912c4e53f b818ba9d-2dd9-4fd7-a364-7f305aef7ee9 9780823274871 Knowledge Unlatched (KU) NY 103472 KU Round 2 605860 Knowledge Unlatched open access
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Benjamin Christensen’s Häxan (The Witch, 1922) stands as a singular film within the history of cinema. Deftly weaving contemporary scientific analysis and powerfully staged historical scenes of satanic initiation, confession under torture, possession, and persecution, Häxan creatively blends spectacle and argument to provoke a humanist re-evaluation of witchcraft in European history as well as the contemporary treatment of female “hysterics” and the mentally ill. In Realizing the Witch, Baxstrom and Meyers show how Häxan opens a window onto wider debates in the 1920s regarding the relationship of film to scientific evidence, the evolving study of religion from historical and anthropological perspectives, and the complex relations between popular culture, artistic expression, and concepts in medicine and psychology. Häxan is a film that travels along the winding path of art and science rather than between the narrow division of “documentary” and “fiction.”
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