This book provides a critical reappraisal of Barbara Creed's ground-breaking work of feminist psychoanalytic film scholarship, The Monstrous-Feminine, which was first published in 1993. The Monstrous-Feminine married psychoanalytic thinking with film analysis in radically new ways to provide an invaluable corrective to conventional approaches to the study of women in horror films, with their narrow emphasis on woman's victimhood. This volume, which will mark 25 years since the publication of The Monstrous-Feminine, brings together essays by international scholars working across a variety of disciplines who take up Creed's ideas in new ways and fresh contexts or, more broadly, explore possible futures for feminist and/or psychoanalytically informed art history and film theory.
This book brings together essays by international scholars who take up Barbara Creeds ideas, first explored in her book The Monstrous-Feminine. in new ways and fresh contexts or, exploring possible futures for feminist and/or psychoanalytically informed art history and film theory.
This book provides a critical reappraisal of Barbara Creeds ground-breaking work of feminist psychoanalytic film scholarship, The Monstrous-Feminine, which was first published in 1993. The Monstrous-Feminine married psychoanalytic thinking with film analysis in radically new ways to provide an invaluable corrective to conventional approaches to the study of women in horror films, with their narrow emphasis on womans victimhood. This volume, which will mark 25 years since the publication of The Monstrous-Feminine, brings together essays by international scholars working across a variety of disciplines who take up Creeds ideas in new ways and fresh contexts or, more broadly, explore possible futures for feminist and/or psychoanalytically informed art history and film theory.
Recenzijas
Re-reading the Monstrous-Feminine offers a welcome, far-reaching and much-overdue re-appraisal of one of the most influential pieces of scholarship on women, horror, and psychoanalytic film theory. Erin Harrington, University of Canterbury, New Zealand
'It is long past time for an extended appraisal of Barbara Creeds ground-breaking conception of the "monstrous-feminine," and this collection makes clear the continued relevance of Creeds theory to a proliferating array of bodies and texts.' --Dawn Keetley, Lehigh University, USA
1. Re-Reading The Monstrous-Feminine: new approaches to psychoanalytic
theory, affect, film and art Part I: Introduction: Feminism and
Psychoanalysis
2. Symmetry and Incident: Laura Mulvey in Conversation with
Nicholas Chare
3. A Dream of Bare Arms: Womanliness, Dirt, and a Quest for
Knowledge
4. Feminism, Film, and Theory Now Part II: Introduction: Expanding
the Monstrous Feminine
5. The Monstrous-Feminine, Then and Now: Barbara Creed
in Conversation with Nicholas Chare
6. Abjection Beyond Tears: Ellyn Burstyn
as Liminal (On Set) Mother in The Exorcist
7. Carries Sisters: New Blood in
Contemporary Female Horror Cinema Part III: Introduction: Reproductive and
Post-Reproductive Bodies and the Monstrous-Feminine
8. I will not be that
girl in the box: The Handmaids Tale, Monstrous Wombs and Trumps America
9.
From a speculative point of view I wondered which of us I was: Rereading
Old Women
10. The"Monstrous-Feminine": Dementia, Psychoanalysis and
Mother-Daughter Relations in Dana Walraths Aliceheimers Part IV:
Introduction: Rethinking the Monstrous-Feminine through a Transnational Frame
11. Polluted Water: Demotic Thai Cinema and Queer Abjection in the Films of
Poj Arnon
12. The Monstrous-Feminine in the Millenial Japanese Horror Film:
Problematic M(O)thers and their Monstrous Children in Ringu, Honogurai mizo
no soko kara and Ju-On
13. Women in the Way? Re-reading The
monstrous-feminine in contemporary Slovenian cinema
14. In-Your-Face: The
Monstrous-Feminine in Photography, Performance Art, Multimedia and Painting
Nicholas Chare is Associate Professor of Modern Art in the Department of History of Art and Film Studies at the Université de Montréal, Canada. He is the author of After Francis Bacon (2012) and Sportswomen in Cinema (2015) and the co-editor with Liz Watkins of Gesture and Film (2017) and with Katharina Bonzel of Representations of Sports Coaches in Film (2017).
Jeanette Hoorn is Honorary Professorial Fellow and a former Director of Gender Studies and Associate- Dean EO in the Faculty of Arts at the University of Melbourne, Australia. In 2014 she designed Sexing the Canvas, filmed and taught at National Gallery of Victoria, Museum of Modern Art New York, and Huntington Library in Pasadena on the Coursera platform https://www.coursera.org/course/sexingthecanvas. Her books include Australian Pastoral, the Making of a White Landscape, 2007; Reframing Darwin: Evolution and Art in Australia, 2009; Body Trade: Captivity, Cannibalism and Colonialism the Pacific, 2001; Idylle Marocaine, Hilda Rix Nicholas et Elsie Rix en Maroc, due October 2019 with Afrique Orient. Her essays have appeared in Art and Australia, Screen, Third Text, Continuum, Transnational Cinemas, Hecate, Australian Historical Studies; Photofile.
Audrey Yue is Professor in Media, Culture and Critical Theory, Head of Communications and New Media, and Convenor of the Cultural Studies in Asia PhD Programme at the National University of Singapore. She is author, co-author and co-editor of Sinophone Cinemas (2014), Transnational Australian Cinema (2013), Queer Singapore (2012) and Ann Huis Song of the Exile (2010), AsiaPacifiQueer (2008) and Mobile Cultures: New Media in Queer Asia (2003). Her recent essays appear in Media and Communication; International Journal of Communication; Inter-Asia Cultural Studies and Urban Studies.
