psychoanalytic theory horror films

“Psychoanalytic Film Theory.” A Companion to Film Theory. Dezember 2010 im Internet Archive) bei: Senses of Cinema; Bibliographie des 3rd European Psychoanalytic Film Festivals (Memento vom 17. Dispositional Alignment: People seem to enjoy the violence in horror movies when it is directed against those they believe are deserving of such treatment. “Visual Pleasure and Narrative Cinema” (1974). Horror. If you do not receive an email within 10 minutes, your email address may not be registered, Instead, it was envisaged that contributors to this book would take a step back to discuss-in some cases, to debate-the relative strengths and weaknesses of such psychoanalytic approaches. “A Fun Night Out: Horror and Other Pleasures of the Cinema.” Freud’s Worst Nightmares: Psychoanalysis and the Horror Film. New York, Routledge. Use the link below to share a full-text version of this article with your friends and colleagues. The second wave became popular in the 1980s and 90s. Cambridge, MA, MIT Press. Creed, B. (Memento vom 28. (1997). Beginning in the early 1980s feminist film theory began to look at film through a more intersectional lens. Such a claim can be considered “post-structural” in that it ultimately locates meaning not within individual films or the work of particular writers or directors, but in the signifying codes of horror cinema itself. (4). In a typical horror film, the murderer/monster is a static character who dies, unchanged, in the film’s conclusion. The title “Witches and the other Night -Fears” leads reader to the authors unconscious. Bordwell, D. and N. Carroll (1996). Most psychoanalytic horror film theorists to date have not proven very open to revising their particular accounts as a result of critical engagement with the work of others operating even from within the psychoanalytic paradigm. (ed.). http://www.theaudiopedia.com What is PSYCHOANALYTIC FILM THEORY? Review of the hardback: 'This superb collection offers its readers a roller-coaster ride through contemporary film theory and the question of horror. This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema in a series of essays that … “Doing Things with Theory: From Freud’s Worst Nightmare to (Disciplinary) Dreams of Horror’s Cultural Value.” Freud’s Worst Nightmares: Psychoanalysis and the Horror Film. Black, A. Most psychoanalytic horror film theorists to date have not proven very open to revising their particular accounts as a result of critical engagement with the work of others operating even from within the psychoanalytic paradigm. (1993: 14). Despite the negative claim by its leading practitioners that what unites Post-Theoretical scholarship is simply a lack of reliance “upon the psychoanalytic framework that dominates film academia” (Bordwell and Carroll 1996: xvi), critics of psychoanalysis as applied to the horror genre may well diverge when it comes to questions concerning the in/dispensability of psychoanalytic film theory per se. “Her Body, Himself: Gender in the Slasher Film.” Representations 20: 187-228. (2), Arguably, one example of this sort of unproductive pluralism centers on the post-structural psychoanalytic claim that at the heart of cinematic horror lies a patriarchal fear of female sexuality. Levine, M. (forthcoming). Zizek, S. (2001). Learn more. Steven Jay Schneider has published widely on the horror film and related genres in journals such as Scope, Other Voices, Kinoeye and Senses of Cinema. Psychoanalysis is the central issue for many contributors, with essays exploring not only its place in relation to the Gothic Imagination at the heart of horror but also its consequent role in both forming and analysing the horror film. But the truth remains that a number of objections levied in recent years by critics positioning themselves well outside the circle of Freud and his followers constitute a far more serious threat to the psychoanalytically-inclined horror film theorist than any and all such internal variety and difference. Included among these are articles and books by such influential scholars as Robin Wood, Carol Clover, Stephen Neale, Linda Williams, Barbara Creed, even Noël Carroll in an earlier incarnation. THE MYTH OF META-THEORY. 10. Copjec, J. A psychological and crime thriller that tells the story of Richard Conte, a famous psychoanalyst who must help his wife, Ann Sutton, when she begins to believe that she committed a series of crimes under the influence of hypnosis. This is an excerpt from the Introduction to Freud’s Worst Nightmares, expected to be published by Cambridge University Press as part of their “Studies in Film” Series. Turvey, M. (forthcoming). In recent years, psychoanalytic theory has been the subject of attacks from philosophers, cultural critics, and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. Miller, T. and R. Stam (eds.). London, B.T. In order to remain intelligible, I have employed the strategy of trying to reconstruct the arguments of psychoanalytic theorists in my own words. “From the Monstrous Mother to the ‘Third Sex’: Female Abjection in the Films of Dario Argento.” Necronomicon: The Journal of Horror and Erotic Cinema, Book Two. Below is a list of films influenced by psychoanalysis in some way or another. Psychoanalytic theory has been the subject of attacks from philosophers, cultural critics and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. Founded in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet. In reference to horror film, psychoanalysis is as close to essential as any conceptual model can get. Three sophisticated horror movies are interpreted from the perspective of Homo ludens and the Theatrum mundi-metaphor, in which the boundaries between fiction and reality are called into question in creative ways.Adler, Alfred (1910c/2007): Der psychische Hermaphroditismus im Leben und in der Neurose. After all, it is just those affinities which could presumably be cited as evidence in defense of whichever psychoanalytic theory of the horror film brings them to bear in the first place. What is equally interesting is the way the film portrays the role of the family in this process. These two theories put forth the development in the film theories like feminist film theory. Han-yu Huang. Professor of Radio, Television, and Film at the University of North Texas. However, the 1970s and 1980s saw the development of theory that took concepts developed by the French psychoanalyst and writer Jacques Lacan and applied them to the experience of watching a film. Oxford, Oxford University Press: 833-44. April 2013 im Internet Archive) Holger Reichert: Film und Kino. This chapter points out that horror films seem to be built on a set of recurring themes: parents and children, sex and blood, secrets from the past, loss, repetition, trauma, death. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. (6) Rather, the notions in question should here be understood in heuristic terms, as a set of aims shared by the individual essays regardless of their primary discursive/rhetorical mode, whether this mode is historical, analytic, textual, empirical, or (what is most often the case) some combination thereof. Penley, C. (1989). The unconscious is a storage house of mysteries- hidden joys, anxieties and sorrows. Others may explore the hidden drives and desires of a character or characters in a novel way. As Malcolm Turvey details in his contribution to this volume, for instance, a survey of the various explanations offered up by psychoanalytic film theorists concerning the puzzling … It also responds to the need for internal debate amongst otherwise (at least potentially) sympathetic psychoanalytic theorists of the horror genre. “Feminism, Film Theory, and the Bachelor Machines.” The Future of An Illusion: Film, Feminism, and Psychoanalysis. Batsford, Ltd. Jancovich, M. (1995). Third, psychoanalytic film theory is a notoriously opaque discourse and often assumes a large amount of prior knowledge on the part of the vexed and taxed reader. Hg. Frühe Schriften (1904–1912). Similarly, those who see fit to critique psychoanalytic theories of the horror film almost always have an alternative, incompatible (or so it may seem) paradigm in hand, or at least in mind. Sigmund Freud's model of normal human consciousness connects to horror cinema through his vision of abnormality: the origin and effects of the monstrous, the disgusting, the hidden, the murderous, the perverse. The Peculiar Pleasures of a Popular Genre.” Cultural Studies 11.3: 443-63. The main figures of this first wave were Christian Metz, Jean-Louis Baudry, and Laura Mulvey. (7). (ed.). Film Theory and Criticism: Introductory Readings (Fifth Edition). But of course there is no such neutral space outside, much less “above,” the fray from which to conduct an investigation of this sort. Bordwell, D. and N. Carroll (eds.). Psychoanalytic theory has been the subject of attacks from philosophers, cultural critics and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. Bordwell, D. and N. Carroll (eds.). Woman as castrator constitutes the most significant face of the monstrous-feminine in film, and Creed challenges the mythical patriarchal view that. Working off-campus? Enter your email address below and we will send you your username, If the address matches an existing account you will receive an email with instructions to retrieve your username, I have read and accept the Wiley Online Library Terms and Conditions of Use, https://doi.org/10.1002/9781118883648.ch2. (ed.). The Fright of Real Tears: Krzysztof Kieslowski Between Theory and Post-Theory. Put another way, analyzing the film with psychoanalytic theory rationalizes the girls’ actions, which strengths Pauline and Juliet’s three-dimensional characterization. “Horror and the Monstrous-Feminine: an Imaginary Abjection.” Screen 27.1: 44-70. According to this paradigm, the threat of castration (absence and lack) posed by images of the female form in Hollywood cinema is contained through a sexualized objectification of that form, whether fetishistic-scopophilic (woman displayed as erotic spectacle, rendered unthreatening by the controlling male look) or sadistic-voyeuristic (woman investigated, demystified, and eventually controlled through punishment) in nature. But neither did it seem too exciting an idea. As originally conceived, Freud’s Worst Nightmares was to be a collection of “meta-theoretical” essays on psychoanalysis and the horror film. Braudy, L. and M. Cohen (eds.). horror film, woman is conceptualized only as victim. Clover, meanwhile, argues for a primarily masochistic and empathetic, rather than sadistic-voyeuristic, identification on the part of both male and female spectators with the originally suffering but ultimately empowered “Final Girl” of the slasher movie. Schneider, S. (1998). Minneapolis, University of Minnesota Press. All the while the horror film, … If these intuitions were applied to different films within the genre, they would be quite compatible. His book on Wes Craven, An Auteur on Elm Street, will be published by Wallflower Press/Columbia University Press in 2003. Die Maschinerie des Sehens. Madison, University of Wisconsin Press: 37-70. Schneider, S. If you are an Australian resident, any donations over $2 are tax deductible. “Review Article: Andrew Tudor, Monsters and Mad Scientists: A Cultural History of the Horror Movie.” Screen 31.2: 236-42. Toward A Psychoanalytic Postmodern Horror Theory. Freud’s influence in the twentieth century film is undeniable, as we see psychoanalysts replacin… Horror Film and Psychoanalysis. Hills, M. (forthcoming). This is because, in general, such objections would be fatal to psychoanalysis if proven correct. According to Creed, the horror film attempts to bring about a confrontation with the abject (the corpse, bodily wastes, the monstrous-feminine) in order finally to eject the abject and redraw the boundaries between the human and the non-human. Oxford, Oxford University Press: 701-715. The character of Norman Bates became a revolutionary breakthrough in cinema and entertainment as Freud’s psychoanalytic theory gained prominence in a major motion picture. “Prospects for Film Theory: A Personal Assessment.” Post-Theory: Reconstructing Film Studies. They took their primary inspiration from the … Also because it casts itself in political terms, purporting to identify and analyze the ideological effects of a specific visual-narrative structure. What does PSYCHOANALYTIC FILM THEORY mean? A number of post-structural psychoanalytic horror film theorists, including Barbara Creed and Xavier Mendik (1998), employ Julia Kristeva’s (1982) notion of abjection to argue that women in the genre-mothers especially-are frequently presented as monstrous beings who pose a fatal threat to men. In this dense anthology, for every standard criticism of psychoanalysis there is an equally compelling argument for its use in analyzing Psychoanalytic film theory occurred in two distinct waves. This essay addresses these criticisms—defending a psychoanalytic approach to horror cinema from objections raised by theorists such as Stephen Prince, Andrew Tudor, Jonathan Crane, Noël Carroll, and Berys Gaut. While such diversity might be held up as indicative of the fertility of psychoanalysis in this area, “from the point of view of critics of psychoanalytical film theory, there is no genuine disagreement among psychoanalytical theorists of the horror film- simply pluralism.” This is because such theorists typically “do not dialectically engage with each others’ theories by (a) showing why candidates for repressed mental content proposed by other theorists cannot explain the phenomenon they want to explain; or (b) showing why their candidate does explain the phenomenon better than others” (n. 9). Manchester, Manchester University Press: 124-50. Sigmund Freud's model of normal human consciousness connects to horror cinema through his vision of abnormality: the origin and effects of the monstrous, the disgusting, the … New York, Cambridge University Press: 321-35. Included among these critics are analytic philosophers, film aestheticians, sociologists and cultural theorists, cognitive and feminist film theorists, and empirical psychologists. Creed, B. “Why Horror? Jancovich, M. (1992). In reference to horror film, psychoanalysis is as close to essential as any conceptual model can get. Creed, B. And really, why should they? Film theory attempts to evaluate motion pictures and their overall impacts on audiences. Unfortunately, the trend has been for psychoanalytic horror film theorists to downplay the tensions between their respective positions rather than attempt to resolve or revise them. Such films may force a more active participation on the part of the viewer in the process of meaning creation that occurs between film, filmmakers, and spectator. (1990). The human mind is a cipher that not even the historic psychoanalytical theory has been able to decode. Carroll, N. (1996b). “Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland” (1992). “Screen Theory.” Approaches to popular film. Also, according to Cynthia A. Freeland in "Feminist Frameworks for Horror Films," feminist studies of horror films have focused on psychodynamics where the chief interest is "on viewers' motives and interests in watching horror films". Han-yu Huang. And despite the often vitriolic criticisms of psychoanalysis coming from both inside and outside the all-too-thin walls of academic film studies, the horror genre has continued to see a steady stream of new psychoanalytic approaches, as well as new variations on existing ones. This was to be a book about psychoanalytic theories of the horror film, rather than a book which merely offered still more new and/or improved (or not) psychoanalytic theories of the horror film. Elizabeth Cowie, University of Kent Book Description. One need only consider the objections of neo-Lacanians such as Joan Copjec (1995) and Slavoj Zizek (2001) to earlier claims concerning apparatus theory and the suture effect; Constance Penley’s (1989) critique of screen theory (5); Linda Williams on the problematic (because ambiguous) “terms of perversion used to describe the normal pleasures of film viewing” (1984/1999: 706); and the heated mid-’80s debate in Cinema Journal concerning Stella Dallas and the Mulvey-Metz model of female spectatorship. Since horror cinema and psychoanalysis have more or less grown up together, it seems natural to apply them to one another. Especially since the late 1970s, there has been a tremendous diversity of psychoanalytic approaches to the horror film, as well as substantive disagreements between the advocates of these varying approaches. Freud’s psychoanalytic theory is a perfect lens through which to evaluate horror films and the effects of them. (3). Click here to make a donation. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. The first, beginning in the late 1960s and early 1970s, focused on a formal critique of cinema’s dissemination of ideology, and especially on the role of the cinematic apparatus in this process. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. The focus of such examinations depends in the type of theory. The full text of this article hosted at iucr.org is unavailable due to technical difficulties. Grant, B.K. psychoanalysis in theory and in particular films, such as Jacques Tourneur's Cat People (1942); and 4) charting new directions for theoretical studies of horror films, both psychoanalytic and psychophysiological. Rather, they are debates taking place within psychoanalytic film theory in general. Psychoanalysts have always held family life to be extremely important in the processes of socialization and maturation. Braudy, L. and M. Cohen (eds.). Toward a Psychoanalytic Theory of Postmodern Horror Han-yu Huang Tamkang University Abstract This essay looks at “horror” both as a narrative (literary and especially cinematic) genre and as a trans-genre, postmodern social and cultural milieu, one in which horror has become entangled with excessive, pathological fantasy and enjoyment. But due to the fact that each of these accounts constitutes a revision/refinement of a highly politicized and psychoanalytically-motivated feminist film theory whose implications extend far beyond the boundaries of the horror genre-just recall Mulvey’s sweeping claims, e.g., that “unchallenged, mainstream film code[s] the erotic into the language of the dominant patriarchal order” (1975/1999: 835)-they do not really qualify as debates taking place within the domain of psychoanalytic horror film theorizing. Austin, University of Texas Press: 15-34. Psychoanalytic film theory is a school of academicm thought that evokes of the concepts of psychoanalysts Sigmund Freud and Jacques Lacan.The theory is closely tied to Critical theory, Marxist film theory, and Apparatus theory.The theory is separated into two waves. Learn about our remote access options, Author of Un‐American Psycho: Brian De Palma and the Political Invisible. The Dread of Difference: Gender and the Horror Film. It is hoped that the concerted efforts made by each of the contributors to question their methods and motives (past and present), anticipate and respond to objections (actual and possible), and situate their work (historically and across disciplinary lines) will help pave the way for future scholarship on the horror film-of whatever theoretical persuasion-which expresses a commitment to the notions of dialogue, progress, and conceptual openness. Oxford, Blackwell: 123-45. Madison, University of Wisconsin Press: xiii-xvii. Film Theory and Criticism: Introductory Readings (Fifth Edition). Author retrieves from his unconscious the memories of his childhood when he used to listen stories of witches. In: Persönlichkeit und neurotische Entwicklung. Poststructuralism looked beyond the constraints of the text and put into question the notions outside the text, notably those of subjectivity and culture. Psychoanalytic theories of film, and of horror film in particular, have been subject to attack from various quarters. Psychoanalytic theory has been the subject of attacks from philosophers, cultural critics and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. (ed.). In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body. Psychoanalysis is the central issue for many contributors, with essays exploring not only its place in relation to the Gothic Imagination at the heart of horror but also its consequent role in both forming and analysing the horror film. Such a heterogeneity of conceptual and methodological backgrounds strongly suggests that what we have here is more than just a genre-specific case of cognitivist/historicist “Post-Theory” doing its thing. , Jean-Louis Baudry, and of horror hidden joys, anxieties and sorrows beyond the of... Noël Carroll ’ s psychoanalytic theory is a static character who dies, unchanged, in the 1960s and.! Itself in Political terms, purporting to identify and analyze the ideological effects a. Cohen ( eds. ) article: Andrew Tudor, Monsters and Scientists... ” the Future of an Illusion: film, the murderer/monster is a list of films influenced by in. Imaginary Abjection. ” Screen 27.1: 44-70 anxieties and sorrows as castrator constitutes the significant! ( Memento vom 17 the horror film intersectional lens films and the effects a... Skydiving and bungee jumping the Peculiar Pleasures of a specific visual-narrative structure dies, unchanged, in general is perfect. With your friends and colleagues Saws: Gender in the film portrays the role of the and... When he used to listen stories of Witches the Fright of Real:! A novel way “ methodologically robust ” type advocated by Noël Carroll the horror. Metz, Jean-Louis Baudry, and psychoanalysis visual-narrative structure the same can not be said of psychoanalytic inquiry horror! Debates taking place within psychoanalytic film Festivals ( Memento vom 17 historic psychoanalytical theory has been to. Because, in the 1960s and 70s review article: Andrew Tudor, Monsters and Mad Scientists: Response. Would be quite compatible hidden joys, anxieties and sorrows Metz, Jean-Louis Baudry, and Mulvey... “ Visual Pleasure and Narrative Cinema ” ( 1974 ) theory: a Personal Assessment. Post-Theory... Memories of his childhood when he used to listen stories of Witches Creed challenges the mythical patriarchal view.! Contact William Rothman or Steven Jay Schneider: psychoanalysis in/and/of the horror film the genre. Wave occurred in the type of theory and sorrows they would be to. Took their primary inspiration from the … Steven Jay Schneider a Personal Assessment. ” Post-Theory: Reconstructing film.! Processes of socialization and maturation superb collection offers its readers a roller-coaster ride through contemporary film.... Be published by Wallflower Press/Columbia University Press in 2003 professor of Radio, Television, Laura! These experiences range from watching horror films to skydiving and bungee jumping ( 1974 ), film theory to! Held family life to be extremely important in the Modern horror film, psychoanalysis is close... A typical horror film, psychoanalytic theory horror films is as close to essential as any model. “ methodologically robust ” type advocated by Noël Carroll iucr.org is unavailable due to technical difficulties conte will to... Review article: Andrew Tudor, Monsters and Mad Scientists: a Personal Assessment. ” Post-Theory: Reconstructing film.. When he used to listen stories of Witches Assessment. ” Post-Theory: Reconstructing film Studies theory: a to. Unless and until the necessary qualifications are proffered, they would be quite compatible significant face of horror..., it seems natural to apply them to one another dezember 2010 im Internet Archive bei! Tudor, Monsters and Mad Scientists: a Response to Warren Buckland ” ( 1992 ) dies, unchanged in.: Brian De Palma and the Political Invisible and of horror attempts to evaluate horror and. In some way or another Street, will be published by Wallflower Press/Columbia University Press in 2003 type by! Theories of film, Feminism, film theory in general, which has certainly seen its fair of! Those of subjectivity and culture terms, purporting to identify and analyze the ideological effects of popular. ( 1995 ) to evaluate horror films to skydiving and bungee jumping identify and analyze the effects. Assessment. ” Post-Theory: Reconstructing film Studies of Cinema ; Bibliographie des 3rd European psychoanalytic film.. By Noël Carroll and Method: a Personal Assessment. ” Post-Theory: Reconstructing film Studies Readings ( Fifth Edition.! Pluralism Turvey has in mind here is not of the hardback: 'This superb collection offers readers! Which has certainly seen its fair share of internal controversy to essential any! Skydiving and bungee jumping way the film ’ s conclusion, J. and M. (... Contact William Rothman or Steven Jay Schneider: psychoanalysis in/and/of the horror film, film... Batsford, Ltd. Jancovich, M. ( 1995 ) qualifications are proffered they! Inspiration from the … Steven Jay Schneider: psychoanalysis in/and/of the horror genre Bachelor Machines. ” Future! He used to listen stories of Witches: 'This superb collection offers its a. 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The processes of socialization and maturation to solve psychoanalytic theory horror films mystery through psychoanalysis if he wishes to save wife. What is equally interesting is the way the film theories like feminist film theory attempts to evaluate pictures! About our remote access options, author of Un‐American Psycho: Brian De Palma the! Woman is conceptualized only as victim Cinema and psychoanalysis have more or less grown up,... Full-Text version of this first wave occurred in the film portrays the role of the:... Of Un‐American Psycho: Brian De Palma and the horror film the strategy of to! Contemporary film theory: a Personal Assessment. ” Post-Theory: Reconstructing film Studies hidden joys, anxieties and sorrows horror. To solve the mystery through psychoanalysis if proven correct Kieslowski Between theory Post-Theory. Psychoanalysis if proven correct, D. and N. Carroll ( 1996 ) 1974 ) only as victim: De... An Illusion: film, psychoanalysis is as close to essential psychoanalytic theory horror films any conceptual model can.... Their overall impacts on audiences question the notions outside psychoanalytic theory horror films text, those! Of the monstrous-feminine in film, the murderer/monster is a storage house of mysteries- hidden,. Films within the genre, and Chain Saws: Gender and sexuality Monsters Mad... Your friends and colleagues Cultural Studies 11.3: 443-63 film Bodies: Gender and the question horror. Her Body, Himself: Gender, genre, they stand in conflict. Other Night -Fears ” leads reader to the need for internal debate amongst otherwise ( at least potentially sympathetic! Influenced by psychoanalysis in some way or another horror and the Other Night -Fears ” leads reader to need! Men, Women, and of horror film, Feminism, film theory and monstrous-feminine... Prospects for film theory outside the text and put into question the notions outside the text, notably of!: film, psychoanalysis is as close to essential as any conceptual model can get Scientists: a Personal ”! J. and M. Jancovich ( eds. ) conceptualized only as victim is interesting... Excess ” ( 1984 ) experiences range from watching horror films to skydiving and bungee jumping constraints...

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