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In almost all critical writings on the horror film, woman is
conceptualised only as victim. 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. With close reference to a number of classic
horror films including the Alien trilogy, The Exorcist and Psycho,
Creed analyses the seven `faces' of the monstrous-feminine: archaic
mother, monstrous womb, vampire, witch, possessed body, monstrous
mother and castrator. Her argument that man fears woman as
castrator, rather than as castrated, questions not only Freudian
theories of sexual difference but existing theories of
spectatorship and fetishism, providing a provocative re-reading of
classical and contemporary film and theoretical texts.
This follow-up to the classic text of The Monstrous-Feminine
analyses those contemporary films which explore social justice
issues such as women's equality, violence against women, queer
relationships, race and the plight of the planet and its
multi-species. Examining a new movement - termed by Creed as
Feminist New Wave Cinema - The Return of the Monstrous-Feminine
explores a significant change that has occurred over the past two
decades in the representation of the monstrous-feminine in visual
discourse. The Monstrous-Feminine is a figure in revolt on a
journey through the dark night of abjection. Taking particular
interest in women directors who create the figure of the
Monstrous-Feminine, in cinema that foregrounds everyday horrors in
addition to classic horror, Creed looks at a range of diverse films
including The Babadook, A Girl Walks Home Alone at Night,
Nomadland, Carol, Raw, Revenge, and the television series The
Handmaid's Tale. These films center on different forms of revolt,
from inner revolt to social, supernatural and violent revolt, which
appear in Feminist New Wave Cinema. These relate in the main to the
emergence of a range of social protest movements that have gathered
momentum in the new millennium and given voice to new theoretical
and critical discourses. These include: third and fourth wave
feminism, the #MeToo movement, queer theory, race theory, the
critique of anthropocentrism and human animal theory. These
theoretical discourses have played a key role in influencing
Feminist New Wave Cinema whose films are distinctive, stylish and
diverse. This is an essential companion to the original classic
text and is ideal for students in Gender and Media, Gender and
Horror, Gender and Film and Feminist Film theory courses.
The Monstrous Feminine is one of the most influential books to
emerge in the early 90s In this new edition, Creed does it again,
recontextualizing the conception of the monstrous-feminine to track
many of the evolutions in the horror genre This updated edition
includes an entirely new section examining contemporary feminist
horror films in relation to nonhuman theory Barbara Creed’s
classic remains as relevant as ever
This follow-up to the classic text of The Monstrous-Feminine
analyses those contemporary films which explore social justice
issues such as women's equality, violence against women, queer
relationships, race and the plight of the planet and its
multi-species. Examining a new movement - termed by Creed as
Feminist New Wave Cinema - The Return of the Monstrous-Feminine
explores a significant change that has occurred over the past two
decades in the representation of the monstrous-feminine in visual
discourse. The Monstrous-Feminine is a figure in revolt on a
journey through the dark night of abjection. Taking particular
interest in women directors who create the figure of the
Monstrous-Feminine, in cinema that foregrounds everyday horrors in
addition to classic horror, Creed looks at a range of diverse films
including The Babadook, A Girl Walks Home Alone at Night,
Nomadland, Carol, Raw, Revenge, and the television series The
Handmaid's Tale. These films center on different forms of revolt,
from inner revolt to social, supernatural and violent revolt, which
appear in Feminist New Wave Cinema. These relate in the main to the
emergence of a range of social protest movements that have gathered
momentum in the new millennium and given voice to new theoretical
and critical discourses. These include: third and fourth wave
feminism, the #MeToo movement, queer theory, race theory, the
critique of anthropocentrism and human animal theory. These
theoretical discourses have played a key role in influencing
Feminist New Wave Cinema whose films are distinctive, stylish and
diverse. This is an essential companion to the original classic
text and is ideal for students in Gender and Media, Gender and
Horror, Gender and Film and Feminist Film theory courses.
Body Trade explores the history of the South Pacific traffic in human bodies from the eighteenth century to the present. Scholars from art history, cultural studies, anthropology, literature and film examine the 'captive body' as it is represented in a range of media - from Captain Cook's Journals and Melville's novels to contemporary painting, popular culture, and such movies as Jedda, Meet Me In St Louis and The Murmuring.
Body Trade explores the history of the South Pacific traffic in human bodies from the eighteenth century to the present. Scholars from art history, cultural studies, anthropology, literature and film examine the 'captive body' as it is represented in a range of media - from Captain Cook's Journals and Melville's novels to contemporary painting, popular culture, and such movies as Jedda, Meet Me In St Louis and The Murmuring.
The Monstrous Feminine is one of the most influential books to
emerge in the early 90s In this new edition, Creed does it again,
recontextualizing the conception of the monstrous-feminine to track
many of the evolutions in the horror genre This updated edition
includes an entirely new section examining contemporary feminist
horror films in relation to nonhuman theory Barbara Creed’s
classic remains as relevant as ever
In almost all critical writings on the horror film, woman is conceptualised only as victim. 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. With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and Psycho, Creed analyses the seven `faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. Her argument that man fears woman as castrator, rather than as castrated, questions not only Freudian theories of sexual difference but existing theories of spectatorship and fetishism, providing a provocative re-reading of classical and contemporary film and theoretical texts.
Darwin's Screens addresses a major gap in film scholarship - the
key influence of Charles Darwin's theories on the history of the
cinema. Much has been written on the effect of other great thinkers
such as Freud and Marx but very little on the important role played
by Darwinian ideas on the evolution of the newest art form of the
twentieth century. Creed argues that Darwinian ideas influenced the
evolution of early film genres such as horror, the detective film,
science fiction, film noir and the musical. Her study draws on
Darwin's theories of sexual selection, deep time and
transformation, and on emotions, death, and the meaning of human
and animal in order to rethink some of the canonical arguments of
film and cinema studies.
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