In Violation of the Balance:
Foreignness and the Post-9/11 Horror Film
Immigrants in the United States continue to face a great deal of scrutiny and
suspicion. In “Strangers To Ourselves,” Julia Kristeva discusses the notion of
foreignness in contemporary French society, writing that “the foreigner lives
within us: he is the hidden face of our identity, the space that wrecks our
abode, the time in which understanding and affinity founder.” The foreigner is
something hidden within the self, beyond comprehension, and a constant,
uncanny threat to one's home. The popular horror film has long functioned as
a window into the cultural subconscious, and similar investigations of
'otherness' surrounding the genre have been explored, most notably by Robin
Wood in his “The American Nightmare: Essays on the Horror Film.”
Operating within the framework of these ideas is Francis Lawrence's
Constantine. The thematic thread that resonates from Constantine is anti-
immigration, and more specifically, anti-Mexican immigrant. The film is a
meditation on the fear and anxiety projected upon Mexican immigrants by an
American population, whose attitude towards 'the other' is a refusal to form
relations, rejection, and annihilation. Constantine's project is revealed as an
exploration of this anti-immigrant ideology that permeates the American
psyche, and the ways in which it is exacerbated by 'family values' politics,
religious fundamentalism, and post 9/11 hysteria. A link to the .pdf can be
found here.