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.
|Published (Last):||18 July 2005|
|PDF File Size:||6.25 Mb|
|ePub File Size:||16.26 Mb|
|Price:||Free* [*Free Regsitration Required]|
Sep 11, malic rated it it was amazing Recommends it for: Her work relies on a number of theorists including Freudand Julia Kristeva. 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. With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and PsychoC In almost all critical writings on the horror film, woman is conceptualised only as victim.
All the points she makes are insightful.
I flew through the theory chapters just as quickly as the ones about movies. Be the first to ask a question about The Monstrous-Feminine.
Account Options Sign in. Jun 10, Kendra rated it it was amazing. I am going to tear the entire field of psychoanalysis limb-from-limb as though it feminone upon me atop Mount Cithaeron.
Horror and the Monstrous-Feminine: An Imaginary Abjection | Screen | Oxford Academic
Tom rated it really liked it Aug 08, Horror and the Monstrous-Feminine: Horror, the Film Reader: This summer was supposed to be about research exclusive to my thesis and mark my making headway into a working draft.
I probably would have enjoyed the book more if I was more into psychoanalysis, but I did thoroughly enjoy watching Creed tear apart Freud’s phallocentrism. The first half of this book is amazing, but the second half, despite its inversions of Freud, still has too much Freud. Psychoanalytic Theory and the Femme Castratrice.
Which is a shame, because if Creed had just kept doing the stuff she was doing in the first half, deepening it and broadening it, this’d be an easy five star book. To purchase short term access, please sign in to your Oxford Academic account above.
May 20, Dolly rated it it was amazing Shelves: On Cindy Sherman photography http: Review quote “By reinstating the repressed mother teh “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.
Sign In Forgot password? Nov 22, Shannan rated it liked it.
Barbara Creed – Wikipedia
Gender and the Horror Film. Other books in this series. Feb 22, Kelsey rated it liked it Shelves: Sexing the New Reality. There are no discussion topics on this book yet. In addition to that, it offers an innovative insight into Norman Bates harbara quite a complex, conflicted character.
Thanks for telling us femonine the problem. Published November 17th by Routledge first published September 9th She is author of the acclaimed The Monstrous-feminine: With close reference to a number of classic But despite the particularly bitter breath I took as I started this book, I started to exhale bxrbara its contents sucked me in.
Books by Barbara Creed. Absolutely worth a read if you’re interested in women in media. Email alerts New issue alert. 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.
The Monstrous-Feminine: Film, Feminism, Psychoanalysis
Identification, Castration Theory, and the Logic of Fetishism”. Imprint London ; New York: Unquestionably massively influential, excellently written with wit and expertise. Looking for beautiful books? Creed’s Monstrous Feminine  which was published in can clearly been seen as influenced on her earlier work on Kristeva.