Art, Film, Feminism and Psychoanalysis. Author: Nicholas Chare,Jeanette Hoorn,Audrey Yue. Publisher: Routledge. ISBN:. Category: Performing Arts.

(PDF) The Monstrous Feminine Film Feminism Psychoanalysis. Barbara Creed. THE MONSTROUS FEMININE In almost all critical writings on the horror film.

Page: 268. View: 5897This book provides a critical reappraisal of Barbara Creed’s ground-breaking work of feminist psychoanalytic film scholarship, The Monstrous-Feminine, which was first published in 1993. The Monstrous-Feminine married psychoanalytic thinking with film analysis in radically new ways to provide an invaluable corrective to conventional approaches to the study of women in horror films, with their narrow emphasis on woman’s victimhood. This volume, which will mark 25 years since the publication of The Monstrous-Feminine, brings together essays by international scholars working across a variety of disciplines who take up Creed’s ideas in new ways and fresh contexts or, more broadly, explore possible futures for feminist and/or psychoanalytically informed art history and film theory. Regulating the Reproductive Body.

Author: Jane M. Ussher. Publisher: Routledge.

ISBN:. Category: Psychology. Page: 240. View: 2695Managing the Monstrous Feminine takes a unique approach to the study of the material and discursive practices associated with the construction and regulation of the female body. Jane Ussher examines the ways in which medicine, science, the law and popular culture combine to produce fictions about femininity, positioning the reproductive body as the source of women's power, danger and weakness. Including sections on 'regulation', 'the subjectification of women' and 'women's negotiation and resistance', this book describes the construction of the 'monstrous feminine' in mythology, art, literature and film, revealing its implications for the regulation and experience of the fecund female body. Critical reviews are combined with case studies and extensive interview material to illuminate discussions of subjects including: the regulation of women through the body regimes of knowledge associated with reproduction intersubjectivity and the body women’s narratives of resistance.

These insights into the relation between the construction of the female body and women's subjectivity will be of interest to those studying health psychology, social psychology, medical sociology, gender studies and cultural studies. The book will also appeal to all those looking for a high-level introduction to contemporary feminist thought on the female body. Author: Raechel Dumas. Publisher: Springer. ISBN:.

Category: Social Science. Page: 217. View: 3107This book explores the monstrous-feminine in Japanese popular culture, produced from the late years of the 1980s through to the new millennium. Raechel Dumas examines the role of female monsters in selected works of fiction, manga, film, and video games, offering a trans-genre, trans-media analysis of this enduring trope. The book focuses on several iterations of the monstrous-feminine in contemporary Japan: the self-replicating shōjo in horror, monstrous mothers in science fiction, female ghosts and suburban hauntings in cinema, female monsters and public violence in survival horror games, and the rebellious female body in mytho-fiction.

Situating the titles examined here amid discourses of crisis that have materialized in contemporary Japan, Dumas illuminates the ambivalent pleasure of the monstrous-feminine as a trope that both articulates anxieties centered on shifting configurations of subjectivity and nationhood, and elaborates novel possibilities for identity negotiation and social formation in a period marked by dramatic change. Women of Colour on Terror. Author: Suvendrini Perera,Sherene Razack.

Publisher: University of Toronto Press. ISBN:. Category: Social Science. Page: 632. View: 4157The fear and violence that followed the events of September 11, 2001 touched lives all around the world, even in places that few would immediately associate with the global war on terror. In At the Limits of Justice, twenty-nine contributors from six countries explore the proximity of terror in their own lives and in places ranging from Canada and the United States to Jamaica, Palestine/Israel, Australia, Guyana, Chile, Pakistan, and across the African continent.

In this collection, female scholars of colour – including leading theorists on issues of indigeneity, race, and feminism – examine the political, social, and personal repercussions of the war on terror through contributions that range from testimony and poetry to scholarly analysis. Inspired by both the personal and the global impact of this violence within the war on terror, they expose the way in which the war on terror is presented as a distant and foreign issue at the same time that it is deeply present in the lives of women and others all around the world. An impassioned but rigorous examination of issues of race and gender in contemporary politics, At the Limits of Justice is also a call to create moral communities which will find terror and violence unacceptable.

Gender and the Horror Film. Author: Barry Keith Grant. Publisher: University of Texas Press. ISBN:.

Category: Performing Arts. Page: 560. View: 5645'The Dread of Difference is a classic.

Few film studies texts have been so widely read and so influential. It's rarely on the shelf at my university library, so continuously does it circulate. Now this new edition expands the already comprehensive coverage of gender in the horror film with new essays on recent developments such as the Hostel series and torture porn. Informative and enlightening, this updated classic is an essential reference for fans and students of horror movies.'

—Stephen Prince, editor of The Horror Film and author of Digital Visual Effects in Cinema: The Seduction of Reality 'An impressive array of distinguished scholars. Gazes deeply into the darkness and then forms a Dionysian chorus reaffirming that sexuality and the monstrous are indeed mated in many horror films.' —Choice 'An extremely useful introduction to recent thinking about gender issues within this genre.' —Film Theory.

Author: Valerie Wee. Publisher: Routledge. ISBN:. Category: Social Science. Page: 258.

View: 7977The Ring (2002)—Hollywood’s remake of the Japanese cult success Ringu (1998)—marked the beginning of a significant trend in the late 1990s and early 2000s of American adaptations of Asian horror films. This book explores this complex process of adaptation, paying particular attention to the various transformations that occur when texts cross cultural boundaries. Through close readings of a range of Japanese horror films and their Hollywood remakes, this study addresses the social, cultural, aesthetic and generic features of each national cinema’s approach to and representation of horror, within the subgenre of the ghost story, tracing convergences and divergences in the films’ narrative trajectories, aesthetic style, thematic focus and ideological content. In comparing contemporary Japanese horror films with their American adaptations, this book advances existing studies of both the Japanese and American cinematic traditions, by: illustrating the ways in which each tradition responds to developments in its social, cultural and ideological milieu; and, examining Japanese horror films and their American remakes through a lens that highlights cross-cultural exchange and bilateral influence. The book will be of interest to scholars of film, media, and cultural studies.

Contents.Early life Barbara Creed is a well-known Australian commentator on film and media. She is a graduate of and, completing her doctrinal thesis and research on the cinema of horror. Creed pursued the use of feminist theory and psychoanalysis in her examination of horror films. She currently works within the School of Culture and Communication at the where she is a Professor of. Her current research includes and on screen.Overall, Creed's work is of interest to and and how these theories can be applied to horror films. Her work seriously considers the subjects of feminism, psychoanalysis, and post-culturalism.

Her themes of investigation incorporate, horror cinema, depictions of sex,. Creed's work relies on a number of theorists including, and.is one of Creed's major feminist influencers, as she studied Kristeva in great depth, particularly with her examination of the abject.

Creed wrote an essay on Kristeva and film in 1985 for the British Film Journal. Creed's The Monstrous-Feminine which was published in 1993 and it clearly draws inspiration from her earlier work on Kristeva.Key Focuses Women in horror films have been consistently represented and portrayed as weak, submissive, and highly sexualized.

Creed argues that within horror films, the male gaze is oftentimes the central focus. Misconceptions of female sexuality are inherent within the horror genre, as a common is that virtuous or 'pure' women survive to the end of the film, and women who exhibit sexual behaviour commonly die early into the narrative. This exemplifies how sexually active women are, who warrant their own death, wherein only the 'pure' women deserve the live. On the other hand, women depicted as villains are portrayed as innately evil, and their monstrosity is connected to their bodily functions.

Kristeva's Abjection Creed further acknowledges the influence of, by examining the notion of. According to Kristeva, abjection is the failure to distinguish what constitutes as 'self', and what is 'other'. It is a breakdown of borders between human existence and non-existence. Creed argues that abjection theory is profoundly engrained within the horror genre. She explains this by focuses on how horror emphasizes boundaries of humanity and beyond. Within horror films this theory of a border and the breaking of rules and norms is important as it relates to the formation of the monstrous, which suggests that anything that navigates or exists across this 'border' is abject.

Theory therefore can be applied to the monstrous feminine, particularly the themes of the mother-child relationship and the mother's womb, which both relate to the ‘’.In her 1987 paper, 'From Here to Modernity: Feminism and Postmodernism', Creed's approach to understanding the monstrous male figure also draws on Kristeva's notion of abjection. Creed examples that in examples where the monster is clearly defined as male, its status as male identifies it with a lack, and hence defines it as feminized. In this, 'lack' signifies the female, wherein male monsters are identified as abject, lacking; ultimately feminine. Work Primarily, Barbara Creed's works focus on the, and the impact of upon the genre.

Creed focuses on and work on semiotics. Creed's work using the framework validates its usefulness in the feminist film theory field. The Monstrous-Feminine. The Monstrous Feminine refers to the interpretation of horror films conceptualizing women, predominantly, as victims.

Throughout the book, Creed observes how women are positioned as victims within the horror film genre, and challenges this overriding and one-dimensional understanding of women. Creed challenges this viewpoint by arguing that when the feminine is fabricated as monstrous, it is commonly achieved through association with, or through traits and tasks. Creed uses the expression 'monstrous feminine' because it accentuates the significance of gender in relation to the construction of monstrosity. Creed refrains from using the term 'female monster' as it suggests a mere “role reversal of the ‘male monster”.

Creed argues that the monstrous feminine horrifies her audience through her sexuality, as she is either constructed as a virgin or a whore. She explains that concepts of the monstrous feminine within horror arose from male concerns regarding female sexual difference and castration. Creed asserts that there are a variety of different appearances of the monstrous feminine which all reflect female sexuality: archaic mother, monstrous womb, possessed monster, and castrating mother.Monstrous-Feminine and the Types of Monsters Barbara Creed's The Monstrous-Feminine: Film, Feminism, Psychoanalysis (1993) investigates the types of monsters that women are portrayed as in horror films, particularly examining archaic mothers, and mythological adaption's of characters. Creed analyses women as monstrous through their roles in horror movies playing, archaic mothers, possessed monsters and mythical creatures, such as.

In her discussion of the many 'faces of the monstrous-feminine', she draws on concept of to describe how the patriarchal society separates the human from the non-human, and rejects the 'partially formed subject'.Creed first considers women as in such films as (1992) and (1983), wherein she discusses the image of the ‘archaic mother’ with the female vampire being ‘mother’ and her lover or victim as ‘child’ whom she promises eternal life to. Creed also interrogates at the portrayal of desire and in the horror film, 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.The Monstrous-Feminine also investigates the monstrous figure of witches. Creed critically examines the history of the 'witch' from the to the rise of.

She identifies that early historical definitions of ‘’ were associated with healers and users of magic, but during the in the period of and, was believed to be a sin and in service to the devil. Barbara Creed examines and, and critiques the way in which they represent adolescent young women as ‘possessed’ or ‘demonised’ during. Creed argues that the use of blood and gore are meant to depict women as demonized or monstrous. Moreover, oftentimes possessed women are on the verge of menstruation and their blood is meant to symbolize or suggest a fear of.Another prominent monstrous figure that Creed discusses in her work is and her severed head. Is a mythological creature that's stare can turn people to stone, particularly men, and has a head covered in snakes which Creed argues is a deadly symbol of the. The term was coined by and follows the myth that female genitalia are monster-like, having teeth.

Creed discusses how this creates a fear that women are allegedly actively trying to castrate men. Barbara Creed frequently mentions in her work that horror movies play on this fear of the and even include it visually in films, through enormous toothed or, to settings such as dark and narrow hallways, deadly traps and doors, and spaceships such as that in. Types of Monstrous-Femininity.

in. Possessed Monster in. Monstrous Womb in. Vampire in. Witch in.

Femme Castratrice in and. Castrating Mother inThe Monstrous Womb A woman's reproductive system has long been depicted as abhorrent and intimidating.Creed places emphasis on this idea of the monstrous-womb, as the maternal body has been considered a source of anxiety to the. Creed argues that a woman's deep connection to natural events such as reproduction and birth is considered ‘quintessentially grotesque’.

Creed reflects back to the where the is depicted in connotation with evil and the devil. Contoh program oop php video player. The within horror movies is often depicted as monstrous, for example, the 1979 film clearly depicts this theory. These ideals are clearly imbedded within phallocentric philosophy. Creed's ideology of the woman's reproductive system is similarly analyzed within the works of Kristeva.Freud, Psychoanalysis and Women as Castrator. Sigmund FreudThe Monstrous Feminine discusses the psychoanalysis theories of, primarily ideas of and the female genitalia as monstrous. Creed examines Freud's of sexual difference, and the marking of female sexuality as dangerous, as Freud believed women had and that they were castrators of men. The idea of is derived from Freud's concepts of sexual difference, believing that women are substantially different from men, and that all women desire to be a man or masculine-like, suffering from a.

Works on 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. Freud applies this theory to, as Creed explains that Freud's compares the female genitalia to Medusa as men fear castration from the sight of her. Other Works Media Matrix: Sexing the New Reality Barbara Creed's ‘ Media Matrix: Sexing the New Reality’ explores the impact of media and technology on subjects such as the self, identity, and representation in the public sphere. She includes a definition of 'Matrix' in the book's introduction, which she describes as a, '; place in which thing is developed', which closely relates to her discussion of the monstrous feminine. In the beginning of this piece, she discusses and 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. Creed argues that the development of technology in the and centuries has allowed people to experiment with reality and time, and disassociate one’s self from their own reality, as well as challenge ideas of 'fixed personal identity'. Media Matrix also examines the role of media and news in the modern era, with a particular interest to how an overwhelming majority of fiction showcases the horrific, evokes fear, and the.

Creed defines this 'crisis TV', wherein news reporters focus on disasters to provoke anxiety and immediacy, and bring the abject into reality. Phallic Panic: Film, Horror and the Primal Uncanny In Phallic Panic: Film, Horror and the Primal Uncanny, 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.

This piece offers a feminist analysis on sexual and gender difference in the horror genre, as well as the symbolic order in which male monsters challenge innate and is 'caught between the opposing forces of culture and nature, the civilized and primitive'. Throughout this piece, she makes connections to the notion of the ‘primal uncanny’, which suggests that men as monsters are often connected to women, death and animals. The ‘primal uncanny’, as Creed looks at, was firstly discussed in work as just the ‘uncanny’ that linked to ideas of psychoanalysis and castration. Yet, 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. Phallic Panic draws on many examples of male monsters from the classic film adaption of and the male, to vampires and mad scientists, as well as the relationship between ‘beast’ and man.

Darwin's Screens In Darwin's Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema, Barbara Creed examines the uncanny through works regarding and origins. Creed uses films that were influenced by Darwin in the to analyze film techniques related to Darwin's works. Awards and Committees In 2006 Creed was chosen to be a member of The Australian Academy of the Humanities. Creed is on a variety of worldwide editorial panels.Most Recently, at the University of Melbourne in 2013, Barbara Creed establishedPublications Barbara Creed has published a multitude of material on gender and horror, including: The Monstrous-Feminine: Film, Feminism.

Psychoanalysis (1993), Media Matrix: Sexing the New Reality (2003), Phallic Panic: Film, Horror & the Primal Uncanny (2005) and Darwin's Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema (2009).See also Notes. Retrieved 7 March 2020. Retrieved 7 March 2020. ^ Gear, Rachel (2001).

'All those nasty womanly things: Women artists, technology and the monstrous-feminine'. Women's Studies International Forum. 24 (3–4): 321–333.

Adacore spark 2014. ^ Creed, Barbara (1993). The Monstrous-Feminine: Film, Feminism, Psychoanalysis. New York: Routledge.

^ Creed, Barbara (2005). Phallic Panic: Film, Horror and the Primal Uncanny.

Melbourne: Melbourne University Press. ^ Hollows, Joanne; Jancovich, Mark (1995). Hollows, Joanne; Jancovich, Mark (eds.). Approaches to Popular Film. Manchester, UK: Manchester University Press. P. 147. Grant, Barry Keith (1996).

The Dread of Difference: Gender and the Horror Film. Austin: University of Texas Press. ^ Chaudhuri, Shohini (2006).

Feminist Film Theorists. London and New York: Routledge. Kristeva, Julia (1980). Powers of Horror: An Essay on Abjection. New York: Columbia University Press.

^ Creed, Barbara (2002). Jancovich, M (ed.). 'Horror and the monstrous-feminine: an imaginary abjection'. Horror, the Film Reader: 67–76. Freud, Sigmund (1991). On Sexuality: Three essays on the theory of sexuality and other works. London: Penguin Books.

Harrington, Erin (2018). Women, Monstrosity and Horror Film: Gynaehorror.

New York, NY: Routledge. Retrieved 17 October 2018. ^ Chanter, Tina (2010). 'Abjection, or Why Freud Introduces the Phallus: Identification, Castration Theory, and the Logic of Fetishism'. The Southern Journal of Philosophy. 42: 48–66. ^ Creed, Barbara (2003).

Media Matrix: Sexing the New Reality. Sydney: Allen & Unwin. Allmark, Panizza (2007).

'Masculinity in crisis: the uncanny male monster'. Cultural Studies Review. 13 (1): 223–227. Creed, Barbara (2009).

Darwin's Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema.