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This chapter argues that Annabelle (John R. Leonetti, 2014) and its sequels Annabelle: Creation (David F. Sandberg, 2017) and Annabelle Comes Home (Gary Dauberman, 2019) represent a class of films with an anti-phenomenological tenor, one that disrupts the sense of community or shared experience that often results from multiple viewers screaming or fidgeting in their seats at the same time. This series features a demonic children’s doll that figuratively inflicts on the characters in each film three different types of touch disorder, muddling for them the sensual, tangible, and associational dimensions of the objects onscreen.

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Danger! Do Not Touch Anything!: Viral Transmission, Tactile Object Disrecognition, and the Annabelle Series

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  • 发表日期：

    2025年

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  • Larrie Dudenhoeffer

摘要

This chapter argues that Annabelle (John R. Leonetti, 2014) and its sequels Annabelle: Creation (David F. Sandberg, 2017) and Annabelle Comes Home (Gary Dauberman, 2019) represent a class of films with an anti-phenomenological tenor, one that disrupts the sense of community or shared experience that often results from multiple viewers screaming or fidgeting in their seats at the same time. This series features a demonic children’s doll that figuratively inflicts on the characters in each film three different types of touch disorder, muddling for them the sensual, tangible, and associational dimensions of the objects onscreen.