BARBARA CREED THE MONSTROUS FEMININE PDF
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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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. An Imaginary Abjection Barbara Creed.
The Monstrous-Feminine: Film, Feminism, Psychoanalysis
Horror, the Film Reader: Dec 03, Daisy rated it really liked it Shelves: 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. 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.
A critique of Freudian readings of horror films. Creed zeros in on some interesting perspectives of the films she is analyzing with the support of her connections to Freud’s work, but I just wish she was more particular or made more groundbreaking points. Mar 31, Evan rated it really liked it Shelves: Her argument that man fears woman as castrator, rather than as castrated, questions not only Monstroua theories of sexual difference but existing theories of spectatorship and fetishism, providing a provocative re-reading of classical and contemporary film and theoretical texts.
I have a deep, personal, and I believe entirely justified, hatred of Freud, so tne eyes glazed over a little there. You do not currently have access to this article.
The Monstrous-feminine: Film, Feminism, Psychoanalysis – Barbara Creed – Google Books
I read this for a popular culture class in grad school, and as someone with limited knowledge of psychoanalysis, it was hard to get into. Barbara Creed is an associate professor of cinema studies in the school of barbars arts at the University of Melbourne. 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 monstrkus on Kristeva. We’re featuring millions of their reader ratings on our book pages to help you find your new favourite book.
This page was last edited on fminine Decemberat For an academic work, the theories are decently simply explained, though I montrous read through all the theory chapters if you’re new to Freud. Nov 22, Shannan rated it liked it. Aug 11, Helen rated it really liked it Shelves: I don’t believe in psychoanalysis and this didn’t convert me, although there are interesting points made here and there.
Four Stars Enjoyment Rating: Since I finished it a few days ago, I haven’t been able to stop thinking about it. No trivia or quizzes yet.
The Monstrous-Feminine : Barbara Creed :
Her work is derived seriously on the subjects of feminism, psychoanalysis, and post culturalism. Just femonine moment while we sign you in to your Goodreads account.
Sep 19, Barbarq rated it it was amazing. Gender and the Horror Film. May 03, Viola rated it really liked it. Youjia Lu rated it really liked it Aug 20, Creed is a graduate of Monash University and LaTrobe University where she completed doctoral research using psychoanalysis and feminist theory to understand certain practises of horror films.
Creed’s analyses of psychoanalytic theory applied to films such as The ExorcistAlienThe Broodand so forth captivated me for the most part. Receive exclusive offers and updates from Oxford Academic.
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Lists with This Book. My library Help Advanced Book Search. Three essays on the theory of sexuality and other works. Review quote “By reinstating the repressed mother and “femme castratice in classic Freudian theory, and by extending Julia Kristeva’s discussion of horror and abjection to fresh critical objects, Barbara Creed accessibly and convincingly demonstrates the relevance and productivity of psychoanalytic theory for cultural analysis. I appreciated vreed 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 monstgous it often lacking quite the point I was hoping for.