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Rosemary's Baby
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Michael Newton's study of Roman Polanski's classic Gothic horror film is structured in three parts: a pledge, that sets out the making of the film; a critical turn, that explores its meanings and resonances; and a flourish of the prestige, that examines its reception and cultural impact. Throughout, his reading of the film depends on three interrelated ideas: first, that the film presents itself as just a film, a work of art bound up in the paradoxes of performance; second, that the movie dramatizes a theatre of relations based on power, constraint and the loss of the individual will; and third, that the movie makes up a meeting-point for many of the themes and fashions of the late 1960s. It both floats in a sea of context and explodes the very idea of context, given its involvement in a system of meaning based on connection, coincidence, and conspiracy.
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