BARBARA CREED. I. Mother’s not herself today. – Norman Bates, Psycho. All human societies have a conception of the monstrous-feminine, of what it is about . In almost all critical writings on the horror film, woman is conceptualized only as victim. In The Monstrous-. Feminine Barbara Creed challenges. In almost all critical writings on the horror film, woman is conceptualised only as victim. In The Monstrous-Feminine Barbara Creed challenges.
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SearchWorks Catalog Stanford Libraries. Citing articles via Web of Science The clincher is that I have yet to see many of the movies Creed discusses, but pop culture has afforded me enough of an idea not to be too bent out of shape over spoilers – and Creed’s summaries are sufficient in providing context. Her argument disrupts Freudian and Lacanian theories of sexual difference as well as existing theories of spectatorship and fetishism in relation to the male and female gaze in the cinema to provide a Evolutionary Aesthetics, Time and Sexual Display in the Cinema, Creed examines the uncanny again through Darwin ‘s works with sexual credd and origins.
Skip to search Skip to main content. Dec 12, Bridget H rated it really liked it Shelves: A woman’s reproductive system since the beginning of time has been constantly depicted as abhorrent and intimidating.
It really helps to understand the problem with depiction crefd women in all kinds ceeed horror genres. Thanks for telling us about the problem. I appreciated the use of the monstrous feminine as a retaliation against a society expecting only pretty women, and used it in a paper discussing the harpies of Greek poetry, but I found it often lacking quite the point I was hoping for. Film, Feminism, Psychoanalysis by Barbara Creed.
Barbara Creed has a particular emphasis on this idea of the monstrous-womb, throughout history the maternal body has been considered a source of anxiety to the male gaze. Purchase Subscription prices and ordering Short-term Access To purchase short term access, please sign in to your Oxford Academic account above.
Horror, the Film Reader: Three essays on the theory of sexuality and other works. Don’t have an account? Jun 13, Laura rated it liked it Recommends it for: I’ll never watch horror films in quite the same way again! Description In almost all critical writings on the horror film, woman is omnstrous only as victim.
Creed conveys him as a monster whose evil isn’t an innate compulsion as much as a product of dismal [child] development. Identification, Castration Theory, and the Logic of Fetishism”.
Barbara Creed – Wikipedia
Home Contact Us Help Free delivery worldwide. Sign In Forgot password? Women as castrator constitutes the most significant face of the monstrous-feminine in film and Creed challenges the mythical patriarchal view that women primarily terrifies because of a fear that she might castrate.
Nov 10, Richard Cubitt rated it it was mobstrous.
The critique of Freudian theory comprises a total re-conceptualization of the status of the feminine within psychoanalytic debate. London and New York: Dec 03, Daisy rated it really liked it Shelves: Creed’s Monstrous Feminine  which was published in can clearly been seen as influenced on her earlier work on Kristeva. I read this book because I love monster movies, especially the campy ones where the monster is invariably female and on a killing rampage. Imprint London ; New York: Absolutely worth a read if you’re interested in women in media.
Barbara Creed is one of Australia’s most well-known commentators on film and media, she is a graduate of Monash and La Trobe University, completing her doctrinal thesis and research on the cinema monstfous horror.
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If you don’t feel like watching the films, the plots are all described, but I think you’d definitely miss something if you skipped watching the films. Nov 23, Keith rated it really liked it.
Brbara Essay on Abjection.