This chapter summarises the principle theories applied to the reading of Neil Marshall's The Descent (2005), placing them in the context of the genre's efficacy at addressing the compulsion to control and manage trauma. On the face of it, The Descent is not quite up to the standard of the horror classics it seeks to emulate. Arguably, the overly frenetic fight scenes and the uneven tone keep The Descent from being a true horror classic. So why should we pay it so much attention? The Descent is interesting historically as one of the most critically and commercially successful releases in the recent British horror boom. Trauma can be revisited and, this time, controlled, through art. While other films explore the trauma of birth through scenes of incubation, hosting, and pregnancy gone wrong, The Descent takes as its central motif a far more universal theme, that of the trauma of being born.
Liverpool Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.