The Miskatonic Institute of Horror Studies presents Bloody Bunnies: How Watership Down Traumatised a Generation with Catherine Lister
[ID: a colored illustration of two angry fighting rabbits. The rabbit on the left is dark brown with white eyes and bloody scratches on it’s body. It is laying down as the lighter coloured rabbit on the right aims to bite the other rabbit’s next. It is covered in bloody scratches too.]
Doors: 6.30pm [talk starts promptly at 7pm]
Tickets: £8
On the door: £12
Semester pass for all Miskatonic events at The Horse Hospital available here
Please note that this event is restricted to over 18s only.
The 1978 animated film Watership Down, adapted from Richard Adams’ 1972 novel, is now widely known as one of the most frightening children's films ever made, its subject matter of animated rabbits and U classification (upgraded to PG as of August 2022) supposedly not adequately preparing young viewers and their guardians for its mature tone and disturbing imagery. But is it really the case that audiences were not forewarned of the film's material, and where did the perception that it is a typical, all-ages family film come from? This talk begins by examining the production, marketing, classification, critical reception, paratexts and television broadcasting strategies of the film to trace the history of how Watership Down's 'traumatic' legacy came to be. It will then consider how the film's reputation informed the production, marketing and reception of the 1999 and 2018 television adaptations, especially with regard to how these versions attempted to tone down their horrific aspects and reassure viewers of their suitability for children, the extent to which they were successful in this aim, and what this has to do with their lack of lasting cultural legacy compared with the film. In doing so, this talk aims to take the conversation about Watership Down beyond debates about 'suitability' and trauma by situating the film and television adaptations in hitherto underexplored historical, industrial and critical contexts that shed new light on this remarkable classic of British popular culture.