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• W299254622 abstract "CINEMA'S MISSING CHILDREN Emma Wilson. London: Wallflower, 2003, 181 pp. Emma Wilson's Cinema's Missing Children appears at a pivotal time in children's cultural studies, a time of increased national awareness of growing problem of child abuse. Her discussion of neglect, loss, and mistreatment of in art films aptly reflects current news broadcasts and television talk shows. Yet photographs of Michael Jackson and Crocodile Hunter, both placing their infants in precarious, even mortal, situations, seem tame compared child neglect, physical and psychological, recreated in films Wilson addresses. But missing child is not a topic unique twentieth-century films; archetype of wandering, lost, abused, or abandoned child dominates literary folk and fairy tales. In traditional versions, Hansel and Gretal are abandoned in woods and forced survive on their own, facing depraved adults with evil intentions. Cinderella's stepmother beats her and Snow White's stepmother tries kill her. However, films Wilson analyzes, all made after 1990, rarely end with a happily ever after. Instead, a child dies or is murdered, leaving family and friends reconstruct their lives and process their grief. In film after film, chief aid in healing process is a photograph of dead child. Wilson concentrates, however, not on child in picture, but on adult holding it. In her introduction, Wilson limits scope of her study, narrowing her focus the topos of missing child in a first world, Western context, and she contends more with psychology than politics of threats children (2). She recognizes previous sociological studies, but chooses a psychological approach instead. Wilson also acknowledges that many mainstream films deal with child victims. Yet she opts work with independent art cinema because of its tendency toward reflection and emotion, and its predisposition use photographic elements. Holding this guideline, she analyzes ten films, one per chapter: Three Colours: Blue (1993), Exotica (1994), Happiness (1998), Oliver, Oliver (1992), All about My Mother (1999), The Portrait of a Lady (1996), lude (1995), Ratcatcher (1999), Dogme films, and The Son's Room (2001). It is not choice of films, however, that makes this collection of essays innovative, but manner in which Wilson uncovers horror and loss of childhood. Wilson proceeds past childhood, addressing parental fears and grief. Through missing child, Wilson demonstrates, directors can tackle adult, family, and community issues, sometimes alleviating isolation of grief. Community, photographs, and stand-ins for missing child allow both characters and viewers address and cope with difficult personal matters. All of these films deal with missing child, but they can be grouped by other thematic similarities as well. Blue, Oliver, Oliver, and All about My Mother, for example, focus on a mother's grief. In both Ratcather and The Son's Room, boy protagonist drowns. The Son's Room is different from other films discussed because it does not feature abuse; instead it concentrates on parental grief and on healing that comes through photographs delivered by an unknown outsider. Wilson highlights father's grief and guilt. In Ratcatcher, boy's best friend murders him, and film emphasizes a peer's guilty grief. Happiness broaches topic of pedophilia, with intent to domesticate child molester and show him within range of familiar (and family) experience (41). Similarly, in Oliver, Oliver it is a next-door neighbor who molests and murders title character. Erotica, Oliver, Oliver, and Ratcatcher use a stand-in or double for lost child. The title character of Oliver, Oliver is literally replaced by a boy pretending be missing child, while in Ratcatheribe substitute is not an exact replacement but a stand-in. …" @default.
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• W299254622 date "2005-04-01" @default.
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• W299254622 title "Cinema's Missing Children" @default.
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