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

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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). very interesting to see a different perspective on well known films; it encourages more in depth critical readings of popular texts, and certainly stimulates discussion.

Abjection, or Why Freud Introduces the Phallus: Identification, Castration Theory, and the Logic of Fetishism". To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Twenty-first Century feminist horror, Creed shows, introduces a series of startling tropes: the metamorphizing adolescent girl, the female zombie, and the creatrix. Payments made using National Book Tokens are processed by National Book Tokens Ltd, and you can read their Terms and Conditions here.Barbara Creed frequently mentions in her work that horror movies play on this fear of the vagina dentata and even include it visually in films, through enormous toothed monsters or aliens, to settings such as dark and narrow hallways, deadly traps and doors, and spaceships such as that in Alien.

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.

Medusa, Baba Yaga, the kuchisake onna (‘slit-mouthed woman’) of Japanese urban legend, the flesh-eating mermaid sisters in Agnieszka Smoczyńska’s 2015 film The Lure – there is no shortage of formidable female figures in folklore, film and popular culture. Barbara Creed FAHA (born 30 September 1943) is a professor of cinema studies in the School of Culture and Communication at the University of Melbourne.