Surrexit… She Has Arisen: The Rites of May and the Folk Catholic Imaginary
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Although Mike de Leon’s The Rites of May (1976) may be classified as a horror movie on the basis of its supernatural or uncanny elements, it would seem more fruitful to explicate the true source of its horror in more realistic terms. According to this alternative analysis, The Rites of May is horrific because it deals with the real horror of the objectification, oppression, silencing and liquidation of a woman by a male, fleshand-blood monster-figure. The paper explores this idea through an examination of the representation of Filipino folk Catholicism and its iconography, at once definitively material and audaciously metaphysical
Abstract
Although Mike de Leon’s The Rites of May (1976) may be classified as a horror movie on the basis of its supernatural or uncanny elements, it would seem more fruitful to explicate the true source of its horror in more realistic terms. According to this alternative analysis, The Rites of May is horrific because it deals with the real horror of the objectification, oppression, silencing and liquidation of a woman by a male, fleshand-blood monster-figure. The paper explores this idea through an examination of the representation of Filipino folk Catholicism and its iconography, at once definitively material and audaciously metaphysical
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