They show that her perceived disability is a strength she uses as a weapon for destruction. Inspired by the release of Julia Ducournau’s genre-shattering body horror Titane, this special season explores how female filmmakers have used monstrous bodily transformations to reclaim and empower the female body. Her various acts of rebellion ultimately show that Victoria’s perceived disability is also the source of her empowerment. However, I read her later monstrosity-the murders of her lovers and of the servant, Lilla-as an empowering tale of a perceived disabled woman who shows the instability of British social mores and normalcy by subverting them using her perceived monstrosity. Focusing on the ground-breaking work of Laura Mulvey, Kaja Silverman, Teresa de Lauretis and Barbara Creed, this book explores how, since it began in the 1970s, feminist film theory has revolutionized the way that films and their spectators can be understood. While the heroine, Victoria, may appear to be an able-bodied woman to the reader, the confinement of her body at her aunt’s, her openness about her own sexual desire, and the descriptions of her lover as “inferior” construct Victoria’s body as disabled and sexually deviant by her society. Using a bridge between Barbara Creed’s theory of the monstrous feminine and Rosemarie Garland-Thomson’s intersectional feminist disability theory, I argue that female monstrosity can also be understood as a hyperability. Dendle (Farnham & Burlington: Ashgate Publishing 2012), 78.
However, I argue that Victoria’s monstrosity is not a disability, but rather a hyperability in that her strength becomes a threat to patriarchal power. Export Citation 50 Asa Simon Mittman Introduction: The Impact of Monsters and Monster Studies, in The Ashgate Research Companion to Monsters and the Monstrous ed. She is author of the acclaimed The Monstrous-feminine: Film, Feminism, Psychoanalysis, Media Matrix: Sexing the New Reality, Phallic Panic: Film, Horror & the Primal Uncanny and Darwin's Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema. This paper discusses Charlotte Dacre’s 1806 text Zofloya, and I argue that the lead character’s monstrosity stems from being constructed as mentally ill and then physically inferior in the text. In almost all critical writings on the horror film, woman is conceptualised only as victim. Barbara Creed is Professor of Cinema Studies and Head of the School of Culture and Communication at the University of Melbourne. In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.
0 kommentar(er)
