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  • The Invisible Monstrous-Feminine
    THE INVISIBLE MONSTROUS-FEMININE: THE BLAIR WITCH AND HER HETEROTOPIC WOODS Nb A thesis submitted to the faculty of 30 San Francisco State University Z0\S In partial fulfillment of F im the requirements for * the Degree Master of Arts In Cinema by Erez Genish San Francisco, California May 2015 Copyright by Erez Genish 2015 CERTIFICATION OF APPROVAL I certify that I have read The Invisible Monstrous-Feminine: The Blair Witch and her Heterotopic Woods by Erez Genish, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Cinema at San Francisco State University. THE INVISIBLE MONSTROUS-FEMININE: THE BLAIR WITCH AND HER HETEROTOPIC WOODS Erez Genish San Francisco, California 2015 What is absent in the pseudo found-footage film of Eduardo Sanchez and Daniel Myrick’s The Blair Witch Project (1999), is the visual depiction of the Blair witch. The nontraditional tactic of leaving the witch in the woods without form stands in contrast to other folklore and fairytales that perpetuated the mythic figure of the crone, an old woman whose decaying body represents the blurred line between life and death. The crone- witch corresponds to Barbara Creed’s notion of the monstrous-feminine and her analysis of Julia Kristeva’s abject. As her polluted, filthy old mark her a phobic referent, the crone-witch becomes the non-object that draws the subject to the regenerative womb. However, what draws a parallel in the BWP between the monstrous-feminine crone and abjection is the witch’s invisibility.
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