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dc.contributor.authorMee, Laura
dc.date.accessioned2022-03-07T16:04:39Z
dc.date.available2022-03-07T16:04:39Z
dc.date.issued2021-11-03
dc.identifier.citationMee , L 2021 , ' Conjuring a Universe: James Wan, Creepy Dolls and Demon Nuns ' , Quarterly Review of Film and Video . https://doi.org/10.1080/10509208.2021.1996311
dc.identifier.issn1050-9208
dc.identifier.otherPURE: 26121078
dc.identifier.otherPURE UUID: c20ed08f-e9c9-4e0f-8465-117d4332fb5f
dc.identifier.otherScopus: 85118595770
dc.identifier.otherORCID: /0000-0002-7256-3617/work/109318080
dc.identifier.urihttp://hdl.handle.net/2299/25424
dc.description© 2021 The Author(s). Published with license by Taylor & Francis Group, LLC. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/).
dc.description.abstractThe Conjuring franchise has dominated mainstream horror cinema in the twenty-first century. The success of The Conjuring inspired sequels and spin-offs (Annabelle and The Nun), each beginning further franchise strands. Annabelle: Creation tipped the franchise’s box office returns over $1billion, making it the third most successful horror series of all time and “a full-blown cinematic universe that any studio would envy” (Mendelson). At the universe’s centre is writer/producer/director James Wan, whose reputation has shifted from an uncomfortable association with “splat pack” horror as co-creator of the Saw series, to a blockbuster horror auteur (Bernard). Wan’s particular brand of contemporary Gothic, favouring demonic possession and haunted houses over shock and gore, connects the Conjuring franchise with other films including Insidious and Lights Out, and his involvement is promoted with each new instalment, anchoring every film to his original. This article charts the expansion of The Conjuring series, examining how its connected characters, narratives and aesthetics contribute to a worldbuilding approach which builds on its popular origins by way of Wan's status. This contemporary horror universe is marketed as a complex, evolving auterist creation weaved from a single, central source—and is deliberately distanced from the idea of a calculated, producer-led franchise.en
dc.language.isoeng
dc.relation.ispartofQuarterly Review of Film and Video
dc.rightsOpen
dc.subjectThe Conjuring
dc.subjectworldbuilding
dc.subjectseriality
dc.subjecthorror franchise
dc.subjectHorror
dc.subjectJames Wan
dc.subjectHorror Film
dc.subjectArts and Humanities(all)
dc.titleConjuring a Universe: James Wan, Creepy Dolls and Demon Nunsen
dc.contributor.institutionSchool of Creative Arts
dc.description.statusPeer reviewed
dc.identifier.urlhttp://www.scopus.com/inward/record.url?scp=85118595770&partnerID=8YFLogxK
dc.relation.schoolSchool of Creative Arts
dc.description.versiontypeFinal Published version
dcterms.dateAccepted2021-11-03
rioxxterms.versionAM
rioxxterms.versionVoR
rioxxterms.versionofrecordhttps://doi.org/10.1080/10509208.2021.1996311
rioxxterms.licenseref.urihttp://creativecommons.org/licenses/by/4.0/
rioxxterms.typeJournal Article/Review
herts.preservation.rarelyaccessedtrue
herts.rights.accesstypeOpen


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