In almost all critical writings on the horror film, woman is conceptualized only as victim. In The Monstrous-Feminine, Barbara Creed challenges the mythical patriarchal view that woman terrifies because she is castrated, by arguing that woman primarily terrifies because of a fear that she might castrate. With close reference to a number of classic horror films including Al In almost all critical writings on the horror film, woman is conceptualized only as victim. In The Monstrous-Feminine, Barbara Creed challenges the mythical patriarchal view that woman terrifies because she is castrated, by arguing that woman primarily terrifies because of a fear that she might castrate. With close reference to a number of classic horror films including Alien, The Brood, The Hunger, Carrie, The Exorcist, Sisters, I Spit on Your Grave and Psycho, she presents a sustained analysis of the seven faces of the monstrous-feminine from a feminist and psychoanalytic perspective, discussing woman as monster in relation to woman as archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator.
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 challenging and provocative re-reading of classical and contemporary film and theoretical texts. Well written, well researched and engrossing. I was somewhat disappointed (and confused) by Creed's reluctance to push back against assertions that female monsters are abjectly horrifying solely because they represent castration in some form. I wish she had spent more time with the tropes of women as vehicles for possession, witches, and brood-mothers, rather than her expanded engagement with vagina dentata and femme castratrice, which took up the latter half of the book. I know everything comes Well written, well researched and engrossing.
I was somewhat disappointed (and confused) by Creed's reluctance to push back against assertions that female monsters are abjectly horrifying solely because they represent castration in some form. I wish she had spent more time with the tropes of women as vehicles for possession, witches, and brood-mothers, rather than her expanded engagement with vagina dentata and femme castratrice, which took up the latter half of the book. I know everything comes back to Freud but whyyyyy must everything come back to Freudddddd.
The Monstrous-Feminine had always been on my to-read list for quite some time, but I never got around to actually reading it - but by some cosmic coincidence, I was assigned to read it for a directed study course (a course I'm only in because my initial directed study fell through). I honestly wasn't keen to read this under the circumstances. Actually, I wasn't keen to do pretty much anything under the circumstances. This summer was supposed to be about research exclusive to my thesis and mark The Monstrous-Feminine had always been on my to-read list for quite some time, but I never got around to actually reading it - but by some cosmic coincidence, I was assigned to read it for a directed study course (a course I'm only in because my initial directed study fell through). I honestly wasn't keen to read this under the circumstances. Actually, I wasn't keen to do pretty much anything under the circumstances.
This summer was supposed to be about research exclusive to my thesis and mark my making headway into a working draft. I had a reading list devoted to a subject and a backlog of books I'd dug into so, I was a little steamed to find myself stiffed and strapped to an entirely new reading list because of this study. But despite the part icularly bitter breath I took as I started this book, I started to exhale as its contents sucked me in. Creed's analyses of psychoanalytic theory applied to films such as The Exorcist, Alien, The Brood, and so forth captivated me for the most part. Her first chapter that correlates Kristeva's abjection to the horror film and overall femininity not only set me up for what was in store, but also gave me a whole new respect on Kristeva. A later reference to the semiotic chora led me to read into yet another novel concept. The only thing that rubs me is her essay drawing from Carrie.
Seeing the title laid out in the table of contents and reading many references that led up to it had me pumped so, I felt somewhat let down as this chapter read as somewhat stale in comparison to the other chapters - before and after. But Creed truly shines in her essay on The Castrating Mother which focuses on Hitchcock's Psycho. This piece alone is something I would isolate and assign in its own right, because it breaks new ground in establishing the mother as a site of fear through moralism, moderation, and surveillance. In addition to that, it offers an innovative insight into Norman Bates as quite a complex, conflicted character. Creed conveys him as a monster whose evil isn't an innate compulsion as much as a product of dismal child development.
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. Looks like I'll have to start reading more of Creed.
This was a lot of fun to read. I rewatched all of the films as I was reading, and I really enjoyed it. 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. I flew through the theory chapters just as quickly as the ones about movies.
For an academic work, the theories are decently simply explained, though I might read through all the theory chapters if you're new to Freud. The only complaints that I m This was a lot of fun to read. I rewatched all of the films as I was reading, and I really enjoyed it. 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. I flew through the theory chapters just as quickly as the ones about movies. For an academic work, the theories are decently simply explained, though I might read through all the theory chapters if you're new to Freud. The only complaints that I might have is that the structure is a little weird and it left me wanting more.
It makes sense for it to be arranged this way, but it's a little awkward in the second half. It would have been nice for there to be a little bit more time spent on slasher films.
There was a lot of stuff crammed into that chapter, which also talked about rape-revenge films and Sisters. Barbara Creed analyses the seven faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. 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.
On Cindy Sherman photography Barbara Creed analyses the seven faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. 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. On Cindy Sherman photography see also. This is a classic of film analysis and media theory, and it was revolutionary in its way.
However, as a queer feminist, I disagree with 85% of pretty much everything Creed uses as a basis for her analysis. Her work is strong, focussed, and she writes well.
But the Freudian underpinnings are just too dank for me to be able to agree with much of her analysis. The strong review is for her clear style, excellent scholarship, and the wonderful way she clearly sweeps the legs out from under the analys This is a classic of film analysis and media theory, and it was revolutionary in its way. However, as a queer feminist, I disagree with 85% of pretty much everything Creed uses as a basis for her analysis. Her work is strong, focussed, and she writes well. But the Freudian underpinnings are just too dank for me to be able to agree with much of her analysis. The strong review is for her clear style, excellent scholarship, and the wonderful way she clearly sweeps the legs out from under the analysis of male critics who seemingly can't see the wood for the trees eg, they can't extract themselves from a white, male, western perspective long enough to even consider that another perspective exists.
Horror And The Monstrous Feminine
This is one of the most enjoyable feminist film theory books i've ever read. Jumping off of freud and kristeva, it explores the fear of the monstrous-feminine not as the castrated subject-as freud argued, but as the subject that threatens to castrate. Then it gives all sorts of examples of castrating female monsters, with images, from popular culture! This books makes watching horror movies and reading psychoanalysis so much fun, especially when you think of castration metaphorically as the down this is one of the most enjoyable feminist film theory books i've ever read. Jumping off of freud and kristeva, it explores the fear of the monstrous-feminine not as the castrated subject-as freud argued, but as the subject that threatens to castrate.
Then it gives all sorts of examples of castrating female monsters, with images, from popular culture! This books makes watching horror movies and reading psychoanalysis so much fun, especially when you think of castration metaphorically as the downfall of patriarchy. I also like to throw in transgender monsters and transphobia.