Tag: #YesAllWomen

This guest post by Rebecca Willoughby appears as part of our theme week on Demon and Spirit Possession.

Elliot Rodger’s killing spree in Isla Vista, California in May of 2014, incited much controversy, as did the Twitter hashtag #YesAllWomen, which subsequently emerged as a forum for women to share experiences of sexism and misogyny in everyday life.  Yet, attitudes of skepticism persisted: many Twitter users seemed resistant to the idea that ALL women, at one time or another, experienced circumstances and situations that made life difficult, if not downright annoying or even unbearable.

What’s frightening is that some of the most prevalent types of experiences women reported using the hashtag could be considered normal, everyday occurrences. But female Twitter users describe these moments as uncomfortable, and sometimes terrifying. Perhaps this is why it seems useful to examine the hashtag within the context of the horror film, particularly possession films, which tend to emphasize women’s bodies being acted upon by external forces. The use of the supernatural—specifically, the presence of demons— in Scott Derrickson’s The Exorcism of Emily Rose (2005) can be illustrative of the horror of #YesAllWomen’s sexist experiences, and the skepticism with which they are sometimes met. The film’s unique combination of courtroom drama and horror film emphasizes its investment in skepticism and seems to allow the film to ask: how can we, as viewers, ever really believe this might be “based on a true story”?

In the film a young girl, Emily Rose, perishes following a protracted period of “attack” by demons while under the protective care of Father Moore, a Catholic priest. Female attorney Erin Bruner is chosen to defend Moore against charges of negligent homicide in Emily’s death. Through the two’s connection to the girl throughout the film, each undergoes what I’ve called here a “conversion experience,” as they learn more about the possibility that demons really do exist—demons that can be read to correspond to the challenges that women face in culture every day. Even before the advent of #YesAllWomen, a film like The Exorcism of Emily Rose shows us how to overcome skepticism and create a connected community of individuals committed to sharing troublesome experiences in the service of awareness and activism.

Skepticism in possession films, or films about [usually female] mental instability certainly isn’t unusual. One of the best examples may come from classical Hollywood, in the form of George Cukor’s 1944 classic, Gaslight, wherein the heroine is convinced by her con-artist husband that she is going crazy, when in fact he is manipulating her environment. Bitch Flicks guest writer Elizabeth Brooks usefully points out that possession films, specifically, often make a point of “gas lighting” female protagonists. While audience members may begin to share the heroine’s perceptions and doubts about her reality, often other characters in possession films are skeptical: the parish priest, the victim’s family, boyfriend, sister, you name it.  Emily Rose and Erin Bruner exemplify an oppressive truth: that violence, misogyny, and sexism experienced by one woman—represented in the film as demonic attacks on Emily—initially divides these two women from any sort of communication concerning those issues. In fact, in the film the two never meet. By the end of the movie, however, Erin’s own trials have linked her physically and emotionally with Emily via several terrifying incidents.

The first occurrence of otherworldly forces and their attack on Emily look a lot like a rape. Emily is alone in her dorm room at night, smells something burning, and goes to check it out. We see Emily alone at the end of the long hallway, and we’re startled along with her when a door slams at the end of the corridor; she latches it and returns to her room. She gets back into bed, and suddenly her blankets begin to slip off. Indentations appear in her mattress on either side of her body, and she is forced down onto her back.  Her night-shirt is slowly lifted up toward her midriff. As she tries to force it back down, she grapples with an invisible assailant, but her hands are forced to her sides. Then, suddenly the weight is lifted, and she vaults out of bed and onto the floor, screaming. It reads like a rape to me, even if a spiritually-coded one. Weirdly, no one on screen involved with Emily’s case voices this opinion as a possibility. Instead, the lawyers, doctors, and other professionals involved in Emily’s case collectively move right from superstition and spiritual attacks to illegal drugs to epilepsy and psychosis.

The film vacillates between having viewers believe that Emily’s trials are the machinations of the spirit world, and entertaining the possibility that Emily may be psychotic and epileptic. This balance alone, along with the combination of horror film tropes with courtroom drama, makes the film unusual. Additionally, a wide range of female types populate the margins of this film, leaving viewers with perhaps an atypically rich tapestry of female experience. We see a female judge, and a madam fore-woman of the jury. We see Emily’s traditional, devout housewife mom, her encouraging and faithful sister, the female family doctor, and a female anthropologist expert witness. Professional women and homemakers; average citizens and hopeful youth, even with a reasonable range of representation of racial and ethnic backgrounds. In other words, the population of #YesAllWomen in a microcosm, all represented in a world with flaws Emily’s possession calls stark attention to.

Dr. Briggs, a medical expert witness for the prosecution, provides a glaring example. While under cross-examination, he asserts that he would have tranquilized Emily, force-fed her, and administered electro-shock treatment (against her will if necessary) to save her life. Certainly such a course of action would have completely deprived Emily of dominion over her own body—as the “demons” do. “Possession” in this film is not only a spiritual, but physical term: Emily’s welfare and control over her own treatment is repeatedly assaulted by the prosecution and the (usually male) representatives of the medical community. Though Emily aims to become an educated, professional woman herself, her choices are frequently disparaged, and anyone who supports them—her father and Father Moore specifically, are—forgive the pun—demonized.

Father Moore allows Emily to reject the traditional, patriarchal view that medical illness must be treated with drugs and doctors. Additionally, he chronicles her resistance to these oppressions in the form of a tape of the exorcism, which eventually finds its way to Erin. This archive serves as evidence of Emily’s experience that can be shared with a wider community, making it more difficult to refute. Like Twitter archives, Father Moore attempts to preserve and disseminate proof of Emily’s attacks, just as #YesAllWomen serves as proof of the multitude of challenges women face in everyday existence.

To rebut the over-zealous doctor witness and his extreme stance on Emily’s treatment, Erin locates an anthropologist studying contemporary cases of demon possession in the third world. Erin believes this woman may “see possession for what it really is. Maybe we’ve taught ourselves not to see it. Maybe we should try to validate the alternative.” This alternative is learning to see Emily’s plight as what Dr. Sadhira Adani calls a “basic human experience,” which we might read as the situations and circumstances of #YesAllWomen.

Sadhira Adani believes Emily is “hypersensitive,” which we may see as a positive framing of Emily’s resistance or sensitivity to the flaws of patriarchal culture. In other words, Emily’s “problem” is NOT hysteria, psychosis, or epilepsy, but rather clear vision. Further, while it’s certainly a production decision not to use extensive special effects in the film, a lack of effects may also indicate that what happens to Emily is all the more “realistic.” Without what reviewer Liese Spencer calls “Linda Blair fright makeup” Emily’s plight is more relatable to the average audience member—especially female audience members who might more readily pick up on the alignment of Emily’s possession with a more universal women’s issue.

Two sequences from the film tie Erin to Emily through their experiences of fear. After learning that a man Erin previously helped to acquit has killed again, she rushes into a restaurant ladies’ room to compose herself. Visual parallels to Emily’s rape scene abound: the doors of the stalls echo the dormitory doors lining Emily’s hallway, and square mirrors mimic the hallway’s bulletin boards. As Erin splashes her face with water, we hear another door slam—a woman emerges from a stall to check her makeup.

At Erin’s home, the clocks stop, she smells something burning, lights go out when she tries to investigate, she breaks a glass, and finally the door to her apartment seems to open on its own. The significance of the open door should not be missed: like the unlatched door in Emily’s first attack—which this scene also closely mimics—it could mean an intruder has entered Erin’s apartment, intending her harm. She is alone, as Emily was.

Finally, as Erin recounts her experience of finding a locket to Father Moore, she describes a moment after these events which seems to push her to the realization that she and Emily may be more connected than Erin initially imagines.

We see Erin in flashback as she recounts the experience of finding the locket. She considers what it might mean if “demons really do exist.” But just then she finds the locket on the sidewalk, coincidentally inscribed with her own initials. At this moment, she does not feel alone. Instead, she says, it made her feel as if “no matter what mistakes I’d made in the past, at that moment, I was exactly where I was meant to be; like I was on the right path.” This is the purpose of female community, of which #YesAllWomen is a prime example. Erin’s conversion experience is underway after she’s been made to feel some of the same fears as Emily, to be made to feel lost, alone, and even under “attack,” and also after finding this talisman that acknowledges these feelings and knits her to something larger than herself.

However, Erin’s conversion is not so simple; her privilege and ambition run deep. Soon she is back to her power-hungry and results-oriented self, speaking in purely legal terms and seeming to ignore the communicative experience she’s just recalled. One last frightening experience seems to be what is needed to get Erin fully on board with the female community Emily signifies.

Erin awakes late at night, alone in her bedroom. We hear whispering, which quickly turns into a distant-sounding scream. When she gets out of bed to investigate, she finds that the tape of Emily’s exorcism is in her living room playing, having turned on by itself. She turns it off, mouthing Emily’s name. Emily’s story has now become her focus.

Emily’s final vision of the Blessed Virgin (the ultimate female symbol of sacrifice) is recounted in a letter that Father Moore gives to Erin once he’s sure her conversion is complete. In it, Emily tells of a dream she has the day after her exorcism. In another flashback, an unseen force leads Emily through a mist. Viewers see Emily have an out-of-body experience. As she leaves her physical body behind, THIS Emily looks beautiful and healthy, not battered, twisted, and weak. Yet the Virgin gives her two avenues of action: she can relinquish her body and die, achieving peace; or stay in her body and suffer. It seems a simple choice, but the Virgin assures Emily that if she stays, her suffering will mean something; her story will help others.

It is for this reason that Father Moore has risked his freedom, for this reason that Erin jeopardizes her powerful position to help in sharing Emily’s experiences—but only after she’s had frightening experiences of her own. Their exposure to Emily’s case initiates a conversion experience by which they are both then unable to deny the pitfalls of women in patriarchy, even from their privileged positions.

In the final scenes of the film, Erin and Father Moore appear vulnerable and displaced, if satisfied. He says he cannot go back to his parish, and Erin has refused her law firm’s offer of partnership. Where will they go now? What will they do? They appear at Emily’s grave, as if on a pilgrimage, observing her epitaph, which reads “work out your own salvation with fear and trembling.”

Ostensibly the goal of any horror film is for the viewer to experience some fear and trembling; the combination of these goals with the framework of logic and justice found in the courtroom drama allows The Exorcism of Emily Rose to achieve a broader aim. We can read Emily’s “hypersensitivity” as vulnerability, a vulnerability that she must summon the courage to share in order to communicate a broader, societal concern that would otherwise remain in the shadows. Spiritual trials aside, Emily’s plight is indeed the plight of all women.  Father Moore and Erin Bruner may be the first who achieve symbolic salvation through describing and disseminating Emily’s fear and trembling to others. The Exorcism of Emily Rose and #YesAllWomen illustrates that communication, supportive community, conversation, and awareness are often the first step to activism.

Rebecca Willoughby holds a Ph.D. in English and Film Studies from Lehigh University.  She writes most frequently on horror films and melodrama, and is currently a lecturer in Film/Media Studies at Bucknell University in Lewisburg, Pennsylvania.