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The Monstrous-Feminine: Film, Feminism, Psychoanalysis (Popular Fictions Series)

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However, I would suggest having a brief look at Creed's ideas in advance just so you know, what you are getting into as some topics in the book can be quite 'heavy' or even controversial. Nada más abrir el libro he visto varias anotaciones y varios fragmentos subrallados en color azul y rosa. Creed places emphasis on this idea of the monstrous-womb, as the maternal body has been considered a source of anxiety to the male gaze. One final note: Creed has found some shortcomings in Sigmund Freud's theories and has provided some brilliant solutions, especially to the famous "Little Hans" case.

Twenty-first Century feminist horror, Creed shows, introduces a series of startling tropes: the metamorphizing adolescent girl, the female zombie, and the creatrix. In Phallic Panic: Film, Horror and the Primal Uncanny, [5] Barbara Creed reflects on the representation of men in the horror genre, with a specific focus on how they are portrayed in comparison to women. Sigmund Freud's works on psychoanalysis theorizes that women once had penises, and are themselves castrated, resulting in the formation of female genitalia, and due to this "penis envy", seek to castrate men of their penises to make them as lacking as women. In the beginning of this piece, she discusses The Matrix (1999) and Strange Days (1995) in relation to the concept of ‘jacking-in’, that is the use of technology to alter reality and experience life in other people's minds much like virtual reality.Point by point, Barbara Creed has shown that the faces of the Monstrous Feminine as seen in the horror film, are based in the actual psychology of the developing child in the early experiences of childhood and infancy. In this book, she managed to introduce the psychoanalysis of the woman as a monster portrayed in horror films very clearly and engagingly. very interesting to see a different perspective on well known films; it encourages more in depth critical readings of popular texts, and certainly stimulates discussion. Taking place during the week of International Women’s Day 2022, this online day course takes Creed’s work as a starting point, alongside the psychoanalytic theories of Kristeva and Freud. Creed examines Freud's psychoanalytic theory of sexual difference, and the marking of female sexuality as dangerous, as Freud believed women had vagina dentata and that they were castrators of men.

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 and this revised edition will continue to shape our understanding of the horror genre in the new millennium. We’ll explore the monstrous-feminine through six folkloric examples: the mother, the witch, the mermaid, the werewolf, the vampire and the undead bride.

This exemplifies how sexually active women are harlots, who warrant their own death, wherein only the "pure" women deserve to live.

I have used the term “monstrous-feminine”’, she wrote, ‘as the term “female monster” implies a simple reversal of “male monster”’. Then throughout the rest of the book, she blames men and the patriarchy for representing the feminine as monstrous. Throughout this piece, she makes connections to the notion of the ‘primal uncanny’, which suggests that men as monsters. Moving from mothers to maidens, this session delves into the terrifying bodily transformation of adolescence through two contrasting figures: the mermaid and the werewolf. Other than that though, this is an indispensable read for anyone interested in the horror genre, or in film studies in general.The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. This updated edition includes a new section examining contemporary feminist horror films in relation to nonhuman theory. The bottom line is, Creed has traced these archetypes of the Monstrous Feminine to childhood experience. Thirty years after the publication of Barbara Creed’s classic text, which revolutionised approaches to the analysis of women in horror films, the monstrous- feminine looms large.

Some of the data that are collected include the number of visitors, their source, and the pages they visit anonymously. Whereas Freud believed that the Father was the one viewed by the child as the castrator, Barbara Creed has shown it is actually the mother. Creed proposes a new concept of radical abjection to reinterpret the monstrous-feminine as a figure who embraces abjection by reclaiming her body and re-defining her otherness as nonhuman – while questioning patriarchy, anthropocentrism, misogyny and the meaning of the human. Barbara Creed has identified several faces of the Monstrous Feminine in the horror film genre, and lays out the basis for these faces in psychoanalysis. Yet, Freud only really considered death and the feeling of horror in relation to male monsters and didn't examine the role of women, nature and animals.Creed also interrogates at the portrayal of desire and lesbianism in the horror film the Hunger (1983), arguing that when the two female vampires kiss there is an eruption of blood in the women's mouths, which represents how lesbian relations are deadly and consequential.

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