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

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One example is that when a boy sees the female genitalia for the first time, he assumes that she has lost her penis; it must have been cut off. She is the author of seven books, including Darwin’s Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema (2009); and Stray: Human- Animal Ethics in the Anthropocene (2017). 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. She has recently edited an anthology of scary fairy fiction, Fearsome Fairies (British Library, 2021), and is currently working on a new project about the Cottingley Fairies and writing a book about the relationship between forests and fairy tales. 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.

Another prominent monstrous figure that Creed discusses in her work is Greek mythology's Medusa and her severed head. Moving from mothers to maidens, this session delves into the terrifying bodily transformation of adolescence through two contrasting figures: the mermaid and the werewolf.Barbara Creed’s The Monstrous-Feminine is one of the most influential books to emerge in the early 90s. Creed defines this "crisis TV", wherein news reporters focus on disasters to provoke anxiety and immediacy, and bring the abject into reality.

On the other hand, women depicted as villains are portrayed as innately evil, and their monstrosity is connected to their reproductive bodily functions. Creed uses the expression "monstrous feminine" because it accentuates the significance of gender in relation to the construction of monstrosity.These cookies help provide information on metrics the number of visitors, bounce rate, traffic source, etc. She currently works within the School of Culture and Communication at the University of Melbourne where she is a professor of Cinema Studies. Barbara Creed's ‘ Media Matrix: Sexing the New Reality’ [15] explores the impact of media and technology on subjects such as the self, identity, sexuality and representation in the public sphere. Creed asserts that there are a variety of different appearances of the monstrous feminine which all reflect female sexuality: archaic mother, monstrous womb, vampire, possessed monster, witch, and castrating mother.

Barbara Creed examines Carrie and T he Exorcist, and critiques the way in which they represent adolescent young women as ‘possessed’ or ‘demonised’ during puberty and menstruation. 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. Barbara Creed’s classic remains as relevant as ever and this edition will be of interest to academics and students of feminist theory, nonhuman theory, critical animal studies, race, and queer theory. In her profoundly original analysis of horror films, Creed upended a concept emanating from psychoanalysis, traditionally perceived as scaffolding supporting patriarchy, to demonstrate how women could be seen as the agents of abjection rather than as its passive victims. This exemplifies how sexually active women are harlots, who warrant their own death, wherein only the "pure" women deserve to live.Although a projection of male fears and paranoid fantasies, the monstrous-feminine is nonetheless a terrifying figure. According to Kristeva, abjection is the failure to distinguish what constitutes as "self", and what is "other". Hotjar sets this cookie to know whether a user is included in the data sampling defined by the site's daily session limit. In this, "lack" signifies the female, wherein male monsters are identified as abject, lacking; ultimately feminine. The critique of Freudian theory comprises a total re-conceptualization of the status of the feminine within psychoanalytic debate.

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