Monstrous-Feminine
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Locations of Motherhood in Shakespeare on Film
Volume 2 (2), 2009 ISSN 1756-8226 Locations of Motherhood in Shakespeare on Film LAURA GALLAGHER Queens University Belfast Adelman’s Suffocating Mothers (1992) appropriates feminist psychoanalysis to illustrate how the suppression of the female is represented in selected Shakespearean play-texts (chronologically from Hamlet to The Tempest ) in the attempted expulsion of the mother in order to recover the masculine sense of identity. She argues that Hamlet operates as a watershed in Shakespeare’s canon, marking the prominent return of the problematic maternal presence: “selfhood grounded in paternal absence and in the fantasy of overwhelming contamination at the site of origin – becomes the tragic burden of Hamlet and the men who come after him” (1992, p.10). The maternal body is thus constructed as the site of contamination, of simultaneous attraction and disgust, of fantasies that she cannot hold: she is the slippage between boundaries – the abject. Julia Kristeva’s theory of the abject (1982) ostensibly provides a hypothesis for analysis of women in the horror film, yet the theory also provides a critical means of situating the maternal figure, the “monstrous- feminine” in film versions of Shakespeare (Creed, 1993, 1996). Therefore the choice to focus on the selected Hamlet , Macbeth , Titus Andronicus and Richard III film versions reflects the centrality of the mother figure in these play-texts, and the chosen adaptations most powerfully illuminate this article’s thesis. Crucially, in contrast to Adelman’s identification of the attempted suppression of the “suffocating mother” figures 1, in adapting the text to film the absent maternal figure is forced into (an extended) presence on screen. -
Mother Trouble: the Maternal-Feminine in Phallic and Feminist Theory in Relation to Bratta Ettinger's Elaboration of Matrixial Ethics
This is a repository copy of Mother trouble: the maternal-feminine in phallic and feminist theory in relation to Bratta Ettinger's Elaboration of Matrixial Ethics. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/81179/ Article: Pollock, GFS (2009) Mother trouble: the maternal-feminine in phallic and feminist theory in relation to Bratta Ettinger's Elaboration of Matrixial Ethics. Studies in the Maternal, 1 (1). 1 - 31. ISSN 1759-0434 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Mother Trouble: The Maternal-Feminine in Phallic and Feminist Theory in Relation to Bracha Ettinger’s Elaboration of Matrixial Ethics/Aesthetics Griselda Pollock Preface Most of us are familiar with Sigmund Freud’s infamous signing off, in 1932, after a lifetime of intense intellectual and analytical creativity, on the question of psychoanalytical research into femininity. -
Re-Reading the Monstrous-Feminine : Art, Film, Feminism and Psychoanalysis Ebook
RE-READING THE MONSTROUS-FEMININE : ART, FILM, FEMINISM AND PSYCHOANALYSIS PDF, EPUB, EBOOK Nicholas Chare | 268 pages | 18 Sep 2019 | Taylor & Francis Ltd | 9781138602946 | English | London, United Kingdom Re-reading the Monstrous-Feminine : Art, Film, Feminism and Psychoanalysis PDF Book More Details Creed challenges this view with a feminist psychoanalytic critique, discussing films such as Alien, I Spit on Your Grave and Psycho. Average rating 4. Name required. Proven Seller with Excellent Customer Service. Enlarge cover. This movement first reached success in the Pitcairn Islands, a British Overseas Territory in before reaching the United States in , and the United Kingdom in where women over thirty were only allowed to vote if in possession of property qualifications or were graduates of a university of the United Kingdom. Sign up Log in. In comparison, both films support the ideas of feminism as they depict women as more than the passive or lesser able figures that Freud and Darwin saw them as. EMBED for wordpress. Doctor of Philosophy University of Melbourne. 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. Physical description viii, p. The Bible, if read secularly, is our primal source of horror. The initial display of women as villains despite the little screen time will further allow understanding of the genre of monstrous feminine and the roles and depths allowed in it which may or may not have aided the feminist movement. -
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. -
Vision, Desire and Economies of Transgression in the Films of Jess Franco
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation. -
Discussion Papers
School of Business DISCUSSION PAPERS Robinson Crusoe in the Family: Feminist Economics and Lost in Space Gillian Hewitson Series A 01.02 2001 The copyright associated with this Discussion Paper resides with the author(s) Opinions expressed in this Discussion Paper are those of the author(s), not necessarily those of the School, its Departments or the University ROBINSON CRUSOE IN THE FAMILY: FEMINIST ECONOMICS AND LOST IN SPACE ABSTRACT The use of the figure of Robinson Crusoe as an exemplar of rational economic man may be viewed as of no significance whatsoever, or as very significant in the creation of the meaning of the economic agent. This paper discusses two alternative views of feminist economists. Some feminist economists can be understood to be arguing for the situating of Crusoe within a family context in order to more fully represent the economic reality of both men and women. Others suggest that adding representations of women and families without examining the underlying significance and functioning of Crusoe as a self-made man may misrepresent women in the same way as their exclusion or absence from economic representations. A reading of a modern ‘Family Robinson’ story is used to discuss these views. KEYWORDS Economic man, Robinson Crusoe, family, story-telling, feminist poststructuralism 2 3 ROBINSON CRUSOE IN THE FAMILY: FEMINIST ECONOMICS AND LOST IN SPACE Gillian Hewitson Department of Economics and Finance La Trobe University Bundoora, Victoria AUSTRALIA 3083 Email: [email protected] Phone: 011 61 3 9479 2730 Fax: 011 61 3 9479 1654 Gillian Hewitson is a Lecturer in the Department of Economics and Finance at La Trobe University in Victoria, Australia. -
Fears and the Female Circumstance: Women in 1970S Horror Films Lorian Gish
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 2019 Fears and the Female Circumstance: Women in 1970s Horror Films Lorian Gish Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons Fears and the Female Circumstance: Women in 1970s Horror Films Lorian Gish BFA Acting for Film, Television, Voice-over, and Commercials Minor: Classical and Medieval Studies Thesis Advisor: Shaun Seneviratne Film Studies Presentation: May 8th, 2019 Graduation: May 23rd, 2019 Gish 1 Abstract More than ever before, stories commenting on real female fears are invaluable to the natural social progression of film as an art form. The core female-centric themes in prominent 1970s horror films are: coming of age, sexual identity, domesticity, pregnancy, and reproductive rights. This thesis first employs empirical research as groundwork for analysis on specific film works by elaborating on expert opinion of the horror genre as well as its foundational elements. Thus, that analysis of the return of repressed fear(s), audience projection of monster and victim, and male gaze, applies to iconic 1970s horror films such as Carrie (1976), Halloween (1978), and Rosemary’s Baby (1968). Films that capture fear comment on universal themes of female perceptions, through specific visual and textual techniques and practices. Gish 2 Table of Contents Abstract ....................................................................................................................................................... -
MASCULINITY in CRISIS 223 Male Protagonist, Wearing the Mask of the of Male Symbolic Order
The nature of masculinity and the suppression and re-emergence of the feminine are brilliantly explored in Barbara Creed’s Phallic Panic: Film Horror and the Primal Uncanny. Creed delves deep into the horror genre and what emerges is a succinct and engaging analysis of the PANIZZA ALLMARK connection between the primal uncanny and the classic male monster of horror. The social, historical and psychoanalytical aspects of the masculinity horror genre are integrated into the analysis. The book provides a noble contribution to in crisis feminist insights and cultural criticism by the uncanny male monster providing a counter-reading to the hyper- masculinity that has often been aligned with the male-driven genre. The book is culturally subversive in demonstrating the contradictions and inconsistencies in the symbolic order. BARBARA CREED Creed argues that in cinematic representation Phallic Panic: Film, Horror and the Primal Uncanny and other cultural forms the male monster is Melbourne University Press, Carlton, Vic. associated with the ‘primal uncanny’, which 2005 is woman, the animal and death. The three ISBN 052285172X categories are not mutually exclusive and the RRP $34.95 book highlights their prevalence in aspects of popular culture. In Creed’s rich theoretical discussion, she examines popular film and myth, which feature male monsters, such as Dracula, Frankenstein, werewolves, mad scientists, slashers and ghosts. Creed discusses what they have in common and significantly she, in turn, uses the uncanny as a motif for revealing or bringing to light what, according to phallocentric society ‘ought to have remained secret and hidden’.1 (3) The book is compelling in its appeal and approach to the shadow side of popular culture. -
Powers of Horror; an Essay on Abjection
POWERS OF HORROR An Essay on Abjection EUROPEAN PERSPECTIVES: A Series of the Columbia University Press POWERS OF HORROR An Essay on Abjection JULIA KRISTEVA Translated by LEON S. ROUDIEZ COLUMBIA UNIVERSITY PRESS New York 1982 Library of Congress Cataloging in Publication Data Kristeva, Julia, 1941- Powers of horror. (European perspectives) Translation of: Pouvoirs de l'horreur. 1. Celine, Louis-Ferdinand, 1894-1961 — Criticism and interpretation. 2. Horror in literature. 3. Abjection in literature. I. Title. II. Series. PQ2607.E834Z73413 843'.912 82-4481 ISBN 0-231-05346-0 AACR2 Columbia University Press New York Guildford, Surrey Copyright © 1982 Columbia University Press Pouvoirs de l'horreur © 1980 Editions du Seuil AD rights reserved Printed in the United States of America Clothbound editions of Columbia University Press books are Smyth- sewn and printed on permanent and durable acid-free paper. Contents Translator's Note vii I. Approaching Abjection i 2. Something To Be Scared Of 32 3- From Filth to Defilement 56 4- Semiotics of Biblical Abomination 90 5- . Qui Tollis Peccata Mundi 113 6. Celine: Neither Actor nor Martyr • 133 7- Suffering and Horror 140 8. Those Females Who Can Wreck the Infinite 157 9- "Ours To Jew or Die" 174 12 In the Beginning and Without End . 188 11 Powers of Horror 207 Notes 211 Translator's Note When the original version of this book was published in France in 1980, critics sensed that it marked a turning point in Julia Kristeva's writing. Her concerns seemed less arcane, her presentation more appealingly worked out; as Guy Scarpetta put it in he Nouvel Observateur (May 19, 1980), she now intro- duced into "theoretical rigor an effective measure of seduction." Actually, no sudden change has taken place: the features that are noticeable in Powers of Horror were already in evidence in several earlier essays, some of which have been translated in Desire in Language (Columbia University Press, 1980). -
DARK DESIRES: Male Masochism in the Horror Film Barbara Creed from SCREENING the MALE
DARK DESIRES: Male masochism in the horror film Barbara Creed From SCREENING THE MALE: Exploring masculinities in Hollywood cinema Edited by Steven Cohan and Ina Rae Hark 1993 The body must bear no trace of its debt to nature: it must be clean and proper in order to be fully symbolic (Kristeva 1982) Whenever male bodies are represented as monstrous in the horror film they assume characteristics usually associated with the female body: they experience a blood cycle, change shape, bleed, give birth, become penetrable, are castrated. Traditionally, the male body has been viewed as norm; the female body a deviation. One of the more popular medieval ideas of the difference between the sexes was that women were men turned inside out. Galen explains in careful detail how this reversal works. His discussion is part of a wider treatise justifying woman’s inferiority. A second reason is one that appears in dissecting...think first, please, of the man’s [sexual organs] turned in and extending inward between the rectum and the bladder. If this should happen, the scrotum would necessarily take the place of the uteri [sic], with the testes lying outside, next to it on either side; the penis of the male would become the neck of the cavity that had been formed; and the skin at the end of the penis, now called prepuce, would become the female pudendum itself...In fact, you could not find a single male part left over that had not simply changed its position; for the parts that are inside in woman are outside in man. -
Restless Dreams and Shattered Memories: Psychoanalysis and Silent Hill
B R U M A L Revista de Investigación sobre lo Fantástico DOI: http://dx.doi.org/10.5565/rev/brumal.182 Research Journal on the Fantastic Vol. III, n.° 1 (primavera/spring 2015), pp. 161-182, ISSN: 2014–7910 RESTLESS DREAMS AND SHATTERED MEMORIES: PSYCHOANALYSIS AND SILENT HILL Ewan Kirkland University of Brighton [email protected] Recibido: 25-01-2015 Aceptado: 18-05-2015 Abstract This paper applies psychoanalytic frameworks to the survival horror franchise Silent Hill, a series which is itself informed by psychoanalytic themes. Concerns include the construction of game space as maternal womb, cinematic sequences as primal fanta- sies, and the representation of memory across the games within a psychoanalytic con- text. The horror genres’ preoccupation with monstrous mother figures is evident in boss battle adversaries, the depiction of gamespaces as bloody «maternal caves», and in narratives concerning characters’ searching for their parental origins Distinguishing between videogames’ playable sequences and cinematics as conscious and sub-con- scious aspects, cut-scenes are analysed as reproducing primal fantasies, serving to ex- plain protagonists’ backstory and situating play within narrative contexts. Such mo- ments intrude into the game, marking transformations between the ordinary world and the abject Otherworld, or heralding the emergence of psychoanalytically-resonant monstrous creatures which the protagonist must destroy. Finally, Silent Hill: Shattered Memories is examined as a game which, even more than others, foregrounds the series’ explicit reference to psychoanalytic preoccupations, engaging with contemporary un- derstandings concerning the relationship between memory, media and fantasy. Keywords: Silent Hill, survival horror, psychoanalysis, videogames, memory. Resumen En el presente artículo se aplica el marco de estudio psicoanalítico a la serie de survival horror Silent Hill, ella misma basada en temas psicoanalíticos. -
Barbara Creed a JOURNEY THROUGH BLUE VELVET
new formations NUMBER 6 WINTER I 988 Barbara Creed A JOURNEY THROUGH BLUE VELVET FILM, FANTASY AND THE FEMALE SPECTATOR Fantasists enjoyed little success with her: for, although she did not say very much . her bright eyes and that subtle ironical smile told them: 'Dear friends! how could you believe of me that I should regard your transient poetic fancies as real beings, possessing life and action?' For this reason Clara was stigmatized by many as cold, unfeeling, prosaic. E. T. A. Hoffmann, The Sandman David Lynch's film Blue Velvet threatens to make interpretation redundant, so openly does it flaunt its Freudian themes and narrative. Its protagonist, Jeffrey Beaumont (Kyle MacLachlan), is an Oedipal hero. His real father is struck down (by a heart attack); he sets out on a journey, encounters woman as enigma, woman as symbolic mother figure, and makes love to her; finally, he kills the murderous father-substitute - at which point some fonm of normality is restored and the hero is free to take a young woman of his own. The narrative is liberally dotted with Freudian signposts, often humorously treated: a severed ear, the symbolic use of 'keys' (to unlock the unconscious), the Oedipal drama which Jeffrey witnesses from a wardrobe, repressed homosexual desire when Frank (Dennis Hopper) kisses Jeffrey, the multiplication of father figures, the separation of a mother from her (male) child, woman as masochist, and so on. This surface knowingness and playfulness, the ironic tone and insistent parody of family values, mark Blue Velvet as a post-modern text. It also displays the expected generic pastiches of film noir, melodrama, and pornography.