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The bottom line is, Creed has traced these archetypes of the Monstrous Feminine to childhood experience. Barbara Creed’s The Monstrous-Feminine is one of the most influential books to emerge in the early 90s. So one of the faces of the Monstrous Feminine, therefore, is the "femme castratrice", or female castrator. Phallic Panic draws on many examples of male monsters from the classic film adaption of Frankenstein and the male werewolf, to vampires and mad scientists, as well as the relationship between ‘beast’ and man.
Creed's The Monstrous-Feminine [4] was published in 1993 and clearly draws inspiration from her earlier work on Kristeva. Hotjar sets this cookie to know whether a user is included in the data sampling defined by the site's daily session limit. 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. Another prominent monstrous figure that Creed discusses in her work is Greek mythology's Medusa and her severed head.
Throughout this piece, she makes connections to the notion of the ‘primal uncanny’, which suggests that men as monsters. Primarily, Barbara Creed's works focus on the horror genre, and the impact of patriarchal ideologies upon the genre.
Publication dates are subject to change (although this is an extremely uncommon occurrence overall). In this new and expanded edition of the classic The Monstrous-Feminine: Film, Feminism, Psychoanalysis, Barbara Creed adds a crucial monstrous-feminine register: the nonhuman. Near the beginning of the book, she scolds the patriarchy for believing that there is no Monstrous Feminine. 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). Freud applies this theory to Medusa, as Creed explains that Freud's compares the female genitalia to Medusa as men fear castration from the sight of her.This updated edition includes a new section examining contemporary feminist horror films in relation to nonhuman theory. This is a timely update of a seminal text which re-interprets key films of the horror genre, including Carrie, The Exorcist, The Brood and Psycho.
On the other hand, women depicted as villains are portrayed as innately evil, and their monstrosity is connected to their reproductive bodily functions.She identifies that early historical definitions of ‘ witch’ were associated with healers and users of magic, but during the fourteenth century in the period of witch trials and witch hunts, witchcraft was believed to be a sin and in service to the devil.
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. 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. The term vagina dentata was coined by Sigmund Freud and follows the myth that female genitalia are monster-like, having teeth. The reproductive system within horror movies is often depicted as monstrous, for example, the 1979 film Alien clearly depicts this theory. In this final session, we stay with the maiden on the cusp of marriage, as betrayed brides and possessed women seek out supernatural revenge.Medusa is a mythological creature whose stare can turn people to stone, particularly men, and who has a head covered in snakes, which Creed argues is a deadly symbol of the vagina dentata. The _ga cookie, installed by Google Analytics, calculates visitor, session and campaign data and also keeps track of site usage for the site's analytics report.
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