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

£17.495
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The Monstrous-Feminine: Film, Feminism, Psychoanalysis (Popular Fictions Series)

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

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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. Creed challenges this view with a feminist psychoanalytic critique, discussing films such as Alien, I Spit on Your Grave and Psycho. Creed refrains from using the term "female monster" as it suggests a mere "role reversal of the ‘male monster".

With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and Psycho, Creed analyses the seven `faces’ of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. 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. The critique of Freudian theory comprises a total re-conceptualization of the status of the feminine within psychoanalytic debate. We’ll also work through the maiden-mother-crone tripartite division of women, inviting attendees to discuss whether such labels are useful or damning. In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.

This book is sometimes hard to read, and the concepts of psychoanlaysis that she draws on are often dubious. Thirty years after the publication of Barbara Creed’s classic text, which revolutionised approaches to the analysis of women in horror films, the monstrous- feminine looms large. Publication dates are subject to change (although this is an extremely uncommon occurrence overall). One final note: Creed has found some shortcomings in Sigmund Freud's theories and has provided some brilliant solutions, especially to the famous "Little Hans" case. Creed reflects back to the Renaissance where the uterus is depicted in connotation with evil and the devil.

Primarily, Barbara Creed's works focus on the horror genre, and the impact of patriarchal ideologies upon the genre. The bottom line is, Creed has traced these archetypes of the Monstrous Feminine to childhood experience. Facebook sets this cookie to show relevant advertisements to users by tracking user behaviour across the web, on sites that have Facebook pixel or Facebook social plugin. Abjection, or Why Freud Introduces the Phallus: Identification, Castration Theory, and the Logic of Fetishism". Payments made using National Book Tokens are processed by National Book Tokens Ltd, and you can read their Terms and Conditions here.In this new edition Creed expands and updates the filmography to include horror films created by women to augment the ways in which the monstrous-feminine functions deliciously as patriarchy’s retribution. Creed challenges this masculine viewpoint by arguing that when the feminine is fabricated as monstrous, it is commonly achieved through association with [female] reproductive bodily functions, or through matriarchal traits and tasks.

Sigmund Freud's works on psychoanalysis 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. Creed argues that a woman's deep connection to natural events such as reproduction and birth is considered ‘quintessentially grotesque’. If you are a Member you can apply your promo code when you enter your billing info for 20% discount.She currently works within the School of Culture and Communication at the University of Melbourne where she is a professor of Cinema Studies. 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. 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). Hotjar sets this cookie to know whether a user is included in the data sampling defined by the site's pageview limit.

In this final session, we stay with the maiden on the cusp of marriage, as betrayed brides and possessed women seek out supernatural revenge. The Monstrous Feminine refers to the interpretation of horror films conceptualizing women, predominantly, as victims. 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.

The term vagina dentata was coined by Sigmund Freud and follows the myth that female genitalia are monster-like, having teeth. One word of warning to potential readers is that the book, being a decade old, does not consider more recent horror films. 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.



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