The Journey

Vanessa Ives and Edgework as Self-Work

Research output: Contribution to journalJournal articleResearchpeer-review

23 Downloads (Pure)

Abstract

This paper analyzes the witch Vanessa Ives (Eva Green) in ensemble horror series Penny Dreadful (2014–16). Witches have been television material since Bewitched (1964–72), usually in comedy or light drama, and often for teen audiences. Penny Dreadful, however, is a horror-gothic show for adults, and Vanessa a woman plagued by her powers. She is traumatized by earlier sexual escapades and family losses, and now fights evil in late-Victorian London as part of a group led by Sir Malcolm. In this paper, I read Vanessa’s journey to know herself as a form of edgework, which in sociology is a term for when we in our leisure time perform extreme, exciting and dangerous activities that take us beyond the limits of safety. In sport sociology, ‘edgework’ is when participants ‘work’ the edge of danger (Laurendeau, 2008). Whether in sport or fiction, ‘edgework’ can both challenge social rules and facilitate self-growth. This analysis therefore takes an interdisciplinary approach to screen horror as phantasmagorical play (Sutton-Smith, 1997) that enables emotional edgework.
Original languageEnglish
Article number6
JournalRefractory a Journal of Entertainment Media
Volume28
ISSN1447-4905
Publication statusPublished - 12. Jun 2017

Fingerprint

witch
Sports
sociology
leisure time
drama
television
Group

Keywords

  • Penny Dreadful
  • Edgework
  • Vanessa Ives
  • The fantastic
  • Horror
  • Fantastic television
  • Television drama

Cite this

@article{02f094281f6f46d09223510e9a85cf5c,
title = "The Journey: Vanessa Ives and Edgework as Self-Work",
abstract = "This paper analyzes the witch Vanessa Ives (Eva Green) in ensemble horror series Penny Dreadful (2014–16). Witches have been television material since Bewitched (1964–72), usually in comedy or light drama, and often for teen audiences. Penny Dreadful, however, is a horror-gothic show for adults, and Vanessa a woman plagued by her powers. She is traumatized by earlier sexual escapades and family losses, and now fights evil in late-Victorian London as part of a group led by Sir Malcolm. In this paper, I read Vanessa’s journey to know herself as a form of edgework, which in sociology is a term for when we in our leisure time perform extreme, exciting and dangerous activities that take us beyond the limits of safety. In sport sociology, ‘edgework’ is when participants ‘work’ the edge of danger (Laurendeau, 2008). Whether in sport or fiction, ‘edgework’ can both challenge social rules and facilitate self-growth. This analysis therefore takes an interdisciplinary approach to screen horror as phantasmagorical play (Sutton-Smith, 1997) that enables emotional edgework.",
keywords = "Penny Dreadful, Edgework, Vanessa Ives, The fantastic, Horror, Fantastic television, Television drama",
author = "Rikke Schubart",
note = "Article about the witch Vanessa Ives in television ensemble horror series Penny Dreadful (2014-16). The article uses the theory of {"}edgework{"} from sports sociology and asks how this is used as self-work for the protagonist. Themed Issue: Identity and the Fantastic in Penny Dreadful Edited by Amanda Howell, Stephanie Green, Rikke Schubart & Anita Nell Bech Albertsen",
year = "2017",
month = "6",
day = "12",
language = "English",
volume = "28",
journal = "Refractory a Journal of Entertainment Media",
issn = "1447-4905",

}

The Journey : Vanessa Ives and Edgework as Self-Work. / Schubart, Rikke.

In: Refractory a Journal of Entertainment Media, Vol. 28, 6, 12.06.2017.

Research output: Contribution to journalJournal articleResearchpeer-review

TY - JOUR

T1 - The Journey

T2 - Vanessa Ives and Edgework as Self-Work

AU - Schubart, Rikke

N1 - Article about the witch Vanessa Ives in television ensemble horror series Penny Dreadful (2014-16). The article uses the theory of "edgework" from sports sociology and asks how this is used as self-work for the protagonist. Themed Issue: Identity and the Fantastic in Penny Dreadful Edited by Amanda Howell, Stephanie Green, Rikke Schubart & Anita Nell Bech Albertsen

PY - 2017/6/12

Y1 - 2017/6/12

N2 - This paper analyzes the witch Vanessa Ives (Eva Green) in ensemble horror series Penny Dreadful (2014–16). Witches have been television material since Bewitched (1964–72), usually in comedy or light drama, and often for teen audiences. Penny Dreadful, however, is a horror-gothic show for adults, and Vanessa a woman plagued by her powers. She is traumatized by earlier sexual escapades and family losses, and now fights evil in late-Victorian London as part of a group led by Sir Malcolm. In this paper, I read Vanessa’s journey to know herself as a form of edgework, which in sociology is a term for when we in our leisure time perform extreme, exciting and dangerous activities that take us beyond the limits of safety. In sport sociology, ‘edgework’ is when participants ‘work’ the edge of danger (Laurendeau, 2008). Whether in sport or fiction, ‘edgework’ can both challenge social rules and facilitate self-growth. This analysis therefore takes an interdisciplinary approach to screen horror as phantasmagorical play (Sutton-Smith, 1997) that enables emotional edgework.

AB - This paper analyzes the witch Vanessa Ives (Eva Green) in ensemble horror series Penny Dreadful (2014–16). Witches have been television material since Bewitched (1964–72), usually in comedy or light drama, and often for teen audiences. Penny Dreadful, however, is a horror-gothic show for adults, and Vanessa a woman plagued by her powers. She is traumatized by earlier sexual escapades and family losses, and now fights evil in late-Victorian London as part of a group led by Sir Malcolm. In this paper, I read Vanessa’s journey to know herself as a form of edgework, which in sociology is a term for when we in our leisure time perform extreme, exciting and dangerous activities that take us beyond the limits of safety. In sport sociology, ‘edgework’ is when participants ‘work’ the edge of danger (Laurendeau, 2008). Whether in sport or fiction, ‘edgework’ can both challenge social rules and facilitate self-growth. This analysis therefore takes an interdisciplinary approach to screen horror as phantasmagorical play (Sutton-Smith, 1997) that enables emotional edgework.

KW - Penny Dreadful

KW - Edgework

KW - Vanessa Ives

KW - The fantastic

KW - Horror

KW - Fantastic television

KW - Television drama

M3 - Journal article

VL - 28

JO - Refractory a Journal of Entertainment Media

JF - Refractory a Journal of Entertainment Media

SN - 1447-4905

M1 - 6

ER -