Monstrous-feminine to describe Israel’s monstrous nature prior to the attack. Clearly addressing a genre foreign to the biblical world. Barbara Creed notes. Barbara Creed. The Monstrous-Feminine:Film, Feminism, Psychoan­ alysis. New York: Routledge, 1993, 182 pp. In the twenty-five/yea,s since she first arrived upon the Paris intellectual scene as the star pupil ofRoland Barthes, Julia Kristeva has produced a heterogeneous and well-respected body of semiotic and psychoanalytic writings.

In almost all critical writings on the horror film, woman is conceptualized only as victim. In The Monstrous-Feminine, Barbara Creed challenges the mythical patriarchal view that woman terrifies because she is castrated, by arguing that woman primarily terrifies because of a fear that she might castrate. With close reference to a number of classic horror films including Alien, The Brood, The Hunger, Carrie, The Exorcist, Sisters, I Spit on Your Grave and Psycho, she presents a sustained analysis of the seven faces of the monstrous-feminine from a feminist and psychoanalytic perspective, discussing woman as monster in relation to woman as archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. Her argument disrupts Freudian and Lacanian theories of sexual difference, as well as existing theories of spectatorship and fetishism in relation to the male and female gaze in the cinema, to provide a challenging and provocative re-reading of classical and contemporary film and theoretical texts. Well written, well researched and engrossing. I was somewhat disappointed (and confused) by Creed's reluctance to push back against assertions that female monsters are abjectly horrifying solely because they represent castration in some form. I wish she had spent more time with the tropes of women as vehicles for possession, witches, and brood-mothers, rather than her expanded engagement with vagina dentata and femme castratrice, which took up the latter half of the book.

I know everything comes back to Freud but whyyyyy must everything come back to Freudddddd. This is a classic of film analysis and media theory, and it was revolutionary in its way. However, as a queer feminist, I disagree with 85% of pretty much everything Creed uses as a basis for her analysis. Rave Report 11 Keygen Crack. Download App Remover Portable Garage. Her work is strong, focussed, and she writes well. Maplestory Auto Loot on this page.

But the Freudian underpinnings are just too dank for me to be able to agree with much of her analysis. The strong review is for her clear style, excellent scholarship, and the wonderful way she clearly sweeps the legs out from under the analysis of male critics who seemingly can't see the wood for the trees eg, they can't extract themselves from a white, male, western perspective long enough to even consider that another perspective exists. The Monstrous-Feminine had always been on my to-read list for quite some time, but I never got around to actually reading it - but by some cosmic coincidence, I was assigned to read it for a directed study course (a course I'm only in because my initial directed study fell through). I honestly wasn't keen to read this under the circumstances. Actually, I wasn't keen to do pretty much anything under the circumstances. This summer was supposed to be about research exclusive to my thesis and mark my making headway into a working draft. I had a reading list devoted to a subject and a backlog of books I'd dug into so, I was a little steamed to find myself stiffed and strapped to an entirely new reading list because of this study.