Abstract

 This article examines Roman Polanski’s film Rosemary’s Baby (1968) as both a symptom and a manifestation of the cultural and political upheavals of the late 1960s. Released in an era marked by rampant conspiracy theories and a growing opposition to established hierarchies and institutions, the film constitutes a prime example of “paranoid horror.” Reflecting the collapse of commonly accepted metanarratives such as religion and the American nuclear family, Rosemary’s Baby adamantly rejects the restoration of order that earlier horror movies would have provided. In fact, by questioning ontological reliability, it epitomizes the shift from the classical to the postmodern horror narrative.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.