{"id":{"repo_id":"regina","oai_identifier":"oai:uregina.scholaris.ca:10294/9225"},"canonical_url":"https://search.dev.ndltd.org/etd/regina/oai:uregina.scholaris.ca:10294/9225","repository":{"repo_id":"regina","name":"University of Regina","base_url":"https://uregina.scholaris.ca/server/oai/request"},"display":{"title":"The Mother-Daughter Dyad as Modernized Archetypal Mythology in The Last House On The Left and Carrie","abstract":"This thesis analyzes The Last House on the Left (1972, Wes Craven, USA) and Carrie (1976, Brian De Palma, USA) – two horror films from the 1970s – in terms of Carl Jung’s concepts of the collective unconscious, the shadow, the feeling function, the dual nature of the mother archetype, and specifically, its constellation as the negative mother complex of the daughter. It examines the mother-daughter relationship as female-specific and a unique psychological experience, asserting how the sexual likeness to her mother imbues the daughter with a deeper understanding of her darker unconscious contents. Stressing Jung’s notion of mythology as a ‘language’ of the unconscious, this thesis presents the mother-daughter relationships featured in the films under scrutiny as contemporary manifestations of well-known Greek myths – Demeter/Persephone and Clytemnestra/Electra – and argues that their violent manifestations of mother-daughter relationships gone awry construe the films as compensatory reactions to fears of the liberated woman, bringing “to the consciousness what [has been] ignored or repressed” in the collective consciousness by patriarchal culture (Rowland, Psyche and the Arts 189-90).","abstract_html":"This thesis analyzes The Last House on the Left (1972, Wes Craven, USA) and Carrie (1976, Brian De Palma, USA) – two horror films from the 1970s – in terms of Carl Jung’s concepts of the collective unconscious, the shadow, the feeling function, the dual nature of the mother archetype, and specifically, its constellation as the negative mother complex of the daughter. It examines the mother-daughter relationship as female-specific and a unique psychological experience, asserting how the sexual likeness to her mother imbues the daughter with a deeper understanding of her darker unconscious contents. Stressing Jung’s notion of mythology as a ‘language’ of the unconscious, this thesis presents the mother-daughter relationships featured in the films under scrutiny as contemporary manifestations of well-known Greek myths – Demeter/Persephone and Clytemnestra/Electra – and argues that their violent manifestations of mother-daughter relationships gone awry construe the films as compensatory reactions to fears of the liberated woman, bringing “to the consciousness what [has been] ignored or repressed” in the collective consciousness by patriarchal culture (Rowland, Psyche and the Arts 189-90).","abstract_has_math":false,"creators":["Murrow, Kelsi Elizabeth"],"institution":"Faculty of Graduate Studies and Research, University of Regina","degree_name":"Master of Arts (MA)","degree_level":"Master's","degree_discipline":"Media Studies","degree_department":null,"school":null,"contributors":[],"advisors":["Stojanova, Christina"],"committee_chairs":[],"committee_members":["Ramsay, Christine"],"year":2020,"date_issued":"2020-01","date_published":"2020-01","updated_at":"2026-07-24T04:03:47Z","subjects":[],"languages":["en"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier.doi","label":"DOI","values":["https://doi.org/10.82465/4961"],"render_values":[{"text":"https://doi.org/10.82465/4961","href":"https://doi.org/10.82465/4961","code":true}]}]},"links":{"outbound_url":"https://hdl.handle.net/10294/9225","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Stojanova, Christina"]},{"key":"dc:contributor.committeemember","label":"Committee Member","values":["Ramsay, Christine"]},{"key":"dc:creator","label":"Author","values":["Murrow, Kelsi Elizabeth"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2020-08-29T00:19:04Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2020-08-29T00:19:04Z"]},{"key":"dc:date.issued","label":"Date","values":["2020-01"]},{"key":"dc:publisher","label":"Institution","values":["Faculty of Graduate Studies and Research, University of Regina"]},{"key":"dc:type","label":"Dc Type","values":["master thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Media Studies"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Master's"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts (MA)"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Faculty of Graduate Studies and Research, University of Regina"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.doi","label":"DOI","values":["https://doi.org/10.82465/4961"]},{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/10294/9225"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Media Studies, University of Regina. v, 86 p."]},{"key":"dc:description.abstract","label":"Abstract","values":["This thesis analyzes The Last House on the Left (1972, Wes Craven, USA) and Carrie (1976, Brian De Palma, USA) – two horror films from the 1970s – in terms of Carl Jung’s concepts of the collective unconscious, the shadow, the feeling function, the dual nature of the mother archetype, and specifically, its constellation as the negative mother complex of the daughter. It examines the mother-daughter relationship as female-specific and a unique psychological experience, asserting how the sexual likeness to her mother imbues the daughter with a deeper understanding of her darker unconscious contents. Stressing Jung’s notion of mythology as a ‘language’ of the unconscious, this thesis presents the mother-daughter relationships featured in the films under scrutiny as contemporary manifestations of well-known Greek myths – Demeter/Persephone and Clytemnestra/Electra – and argues that their violent manifestations of mother-daughter relationships gone awry construe the films as compensatory reactions to fears of the liberated woman, bringing “to the consciousness what [has been] ignored or repressed” in the collective consciousness by patriarchal culture (Rowland, Psyche and the Arts 189-90)."]},{"key":"dc:title","label":"Title","values":["The Mother-Daughter Dyad as Modernized Archetypal Mythology in The Last House On The Left and Carrie"]}]}],"canonical_facts":{"dc:contributor.advisor":["Stojanova, Christina"],"dc:contributor.committeemember":["Ramsay, Christine"],"dc:creator":["Murrow, Kelsi Elizabeth"],"dc:date.accessioned":["2020-08-29T00:19:04Z"],"dc:date.available":["2020-08-29T00:19:04Z"],"dc:date.issued":["2020-01"],"dc:description":["A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Media Studies, University of Regina. v, 86 p."],"dc:description.abstract":["This thesis analyzes The Last House on the Left (1972, Wes Craven, USA) and Carrie (1976, Brian De Palma, USA) – two horror films from the 1970s – in terms of Carl Jung’s concepts of the collective unconscious, the shadow, the feeling function, the dual nature of the mother archetype, and specifically, its constellation as the negative mother complex of the daughter. It examines the mother-daughter relationship as female-specific and a unique psychological experience, asserting how the sexual likeness to her mother imbues the daughter with a deeper understanding of her darker unconscious contents. Stressing Jung’s notion of mythology as a ‘language’ of the unconscious, this thesis presents the mother-daughter relationships featured in the films under scrutiny as contemporary manifestations of well-known Greek myths – Demeter/Persephone and Clytemnestra/Electra – and argues that their violent manifestations of mother-daughter relationships gone awry construe the films as compensatory reactions to fears of the liberated woman, bringing “to the consciousness what [has been] ignored or repressed” in the collective consciousness by patriarchal culture (Rowland, Psyche and the Arts 189-90)."],"dc:identifier.doi":["https://doi.org/10.82465/4961"],"dc:identifier.uri":["https://hdl.handle.net/10294/9225"],"dc:language.iso":["en"],"dc:publisher":["Faculty of Graduate Studies and Research, University of Regina"],"dc:title":["The Mother-Daughter Dyad as Modernized Archetypal Mythology in The Last House On The Left and Carrie"],"dc:type":["master thesis"],"thesis:degree_discipline":["Media Studies"],"thesis:degree_level":["Master's"],"thesis:degree_name":["Master of Arts (MA)"],"thesis:institution_name":["Faculty of Graduate Studies and Research, University of Regina"]},"updated_at":"2026-07-24T04:03:47Z"}