Pet Sematary Midterm

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Apr 3, 2024

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Kennedy 1 Linley Kennedy Prof. Lisa Nohner ENGL 2231 Gender & Horror 15 October 2023 An Analysis of Gender Dynamics in Pet Sematary (2019) The realm of cinema may be one of the strongest portrayals of the societal stances and norms from which a given film was written, which is why the objective of this essay is to critique the representation of masculinity in the 2019 adaptation of Stephen King’s Pet Sematary . It’s imperative to understand that the concept of hegemonic masculinity positions all men in relation to stereotypical masculinity where they find themselves internalizing certain behaviors to conform to the developed structure of gender-based hierarchy (Morettini 2016). Through Louis’s competitive dynamic with Judd, unwavering stubbornness to protect his family, and the director’s decision to portray the only women in the film as monstrous, Pet Sematary (2019) speculates that traditional masculinity is a destructive force that that leads to disastrous outcomes for everyone involved. The dynamic Judd and Louis share throughout the film maintains the competitive standard of hegemonic masculinity. When observing the homosocial critiques and support for masculinity, competitiveness between male characters fulfills one of the three criteria masculine individuals hold themselves and others accountable (Bird 130). Although Judd’s character serves as a support system for Louis, he often bestows unsolicited advice for Louis’s parenting. Before Louis understands the power of the burial ground, Judd pries at his decision making by interrogating him. “Ellie loved that cat? And you love Ellie?... Then follow me” ( Pet Sematary 31:32). Judd seemingly appoints himself the decision maker in how to handle Church’s death,

Kennedy 1 and tricks Louis into burying his daughter’s dead cat in the burial ground by preying on his instincts to protect his daughter. Elaborating further on Bird’s analysis of masculinity, the pecking order between males is portrayed when Louis confronts Judd about the resurrection of Church. Judd simply responds, “Well, isn’t that what you wanted? To save your daughter from the truth?” ( Pet Sematary 37:29). This question is packed with undertones of criticism of Louis’s decision to obey Rachel in lying to Ellie. This response simultaneously deflects the blame onto Louis all while positioning Judd at a higher status in their pecking order. When Judd attempts to orchestrate Louis’s gameplan for Ellie’s death, Louis continues to compete against Judd’s opinion on how to handle her death. Judd pleads to refrain from resurrecting her right before Louis drugs him to ensure full control over the situation, positioning himself as the dominant male stubborn in protecting his family. As established by the popular definition of hegemonic masculinity, a man portraying masculinity should be strong, tough, and successful (Morettini 2016). From the beginning of the film, Louis’s character is established as a father and husband, and therefore the caretaker and protector of the nuclear family. In the exposition, he is a man of White Science, a typical doctor who only believes in hegemonic science and would never even consider explanations provided by Black Magic (Clover 67). He is completely stumped by Church’s return, telling Rachel, “He must’ve been unconscious or in shock or somethin’” ( Pet Sematary 36:51). At this point, Louis hasn’t even considered the explanation that he unknowingly used Black Magic to protect Ellie’s feelings. He’s faced with this creature of categorical contradictoriness as his daughter’s cat has clearly violated the binary classes of existence (Carroll 55). However, once Louis admits the supernatural nature of his issue, this previously White Science man sets aside his obsession with being strong enough to protect his family on his own and accepts the aid of Black Magic.

Kennedy 1 Afterall, “before one can provide a supernatural solution, however, one must admit the supernatural nature of the problem” (Clover 67). It’s at this point in the film where the Overreacher Plot is established, as Church portrays the forbidden knowledge of raising the dead (Carroll 57). Louis completely disregards the known consequences of utilizing the burial ground due to his unwavering obsession with fulfilling his masculine pressure to protect his family and is now trapped with wendigos hunting him. The directors’ choice to turn Ellie into the first Wendigo opens the conversation had by many critiques who study gender in film. In horror, the monster is made of dead, rotting elements, seeming impure and unclean (Carroll 54). As Louis washes her in the bathtub, Ellie is illustrated with matted hair, oozing wounds, rotting flesh, and simply unclean. Louis is clearly distressed as he begins to realize what he’s done. As they lay in bed, he grows more uncomfortable with her presence. He begs, “Please, El, close your eyes. It’s gonna be okay” ( Pet Sematary 1:13:58). At this point in the movie, Louis is now the victim, and the female character is the monster. Damning one of the only female characters to the hold of the supernatural reroutes the story of the film to a man in crisis (Clover 65). Ellie’s form of a wendigo, as many monsters gendered female in horror, evokes a sense of castration anxiety for the male characters, not because she is castrated, but because of her ability to castrate as a female (Roche 14). Ellie preys on Judd’s masculinity, targeting his shame of his inability to protect his late wife, Norma’s soul. She tells him, “She’s burning down in Hell for what you did to her. I saw her there, Judd” ( Pet Sematary 1:22:11). While this is not a physical castration being done, the female monster strips the male character of his masculinity by making his quiver in fear and relive the grief of letting down his wife. Later in the film, Rachel also becomes a wendigo, and becomes the opposite of visually pleasing to both the viewer and Louis. This destruction of visually pleasing

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