4. Google Scholar Horror, Femininity, and Carries Monstrous Puberty (Shelley Stamp) 15.
Is the Rectum a Grave? Horror, Femininity, and Carries Monstrous Puberty in Grant, Barry Keith. Google Scholar Stephen King, Carrie (London: New English Library, 1974), p. 132. We will write a custom Essay on Female Character in Palmas Carrie Horror Film specifically for you. Carries final act of revenge as well as the death of both her and her mother serves as the consequences of the failure of sexual repression to contain the monstrous-feminine (Lindsey 40). The Dread of Difference: Gender and the Horror Film. JSTOR. University of Illinois Press, n.d. In this course, we will watch a variety of classic and contemporary horror films with the goal of understanding how what is considered scary or monstrous in such films often relates to anxieties surrounding gender, sexuality and difference. Ed. Horror, Femininity, and Carrie's Monstrous Puberty (Shelley Stamp Lindsey) 13. The idea of a coming-of-age story that takes puberty and turns it into monsterhood is not new; even werewolves have done it several times, nor is the idea of the monstrous feminine, of the female villain and of femininity made monstrous. Horror and the Monstrous-Feminine: An Imaginary Abjection (Barbara Creed) 3. Stamp Lindsey states not only is Carrie a female monster, but sexual difference is integral to the horror she generates; monstrosity is explicitly associated Horror and the Monstrous-Feminine: An Imaginary Abjection (Barbara Creed) 3. The dread of difference: gender and the horror film. Posted by Mickey Moses at 1:52 PM No comments: Email This BlogThis! Barry Keith Grant, 279-95. Horror and the monstrous-feminine: An imaginary abjection. They gaze back at the audiences' who are unsuccessful in hiding their own sexual desires. The Dread of Difference: Gender and the Horror Film.
Read Cult Movie Review: Carrie by John Kenneth Muir and Horror, Femininity, and Carrie's Monstrous Puberty by Shelley Stamp Lindsey. 22 Dec. 2014. Web.
Barry Keith Grant. The story of a girl going through puberty is no less frighteningwhat with sexual awakenings, changing bodies, and literal blood escaping the ever enigmatic and oh-so-mysterious vagina.. Horror, Femininity, and Carries Monstrous Puberty. for only $16.05 $11/page. Torture Porn and Uneasy Feminisms: Rethinking (Wo)men in Eli Roth's Hostel Films (Maisha Wester) Part Three 14. In chart-ing Carries path to mature womanhood, the film presents female sexuality as monstrous and constructs femininity as a subject position impossible to occupy. the pig blood-soaked prom dress in Carrie. 1996. As a painfully sheltered girl with an intensely devoted religious fanatic of a mother (Piper Laurie), Carrie initially regards puberty as a form of humiliation. My only regret about reading this book is that I came to it too late, as it has some seminal works that I'd already read, most notably Carol Clover's "Her Body, Himself," which originally defined the idea of the Final Girl, and Shelley Stamp Lindsey's wonderful "Horror, Femininity and Carrie's Monstrous Puberty." Share Once a girl has reached puberty she is seen to be monstrous. Long before there were anti-bullying campaigns, Carrie (1976) showed us how teenage cruelty can lead to outright death and bloody trauma.
Single White Female (1992). Introduction. "Horror, Femininity, and Carrie's Monstrous Puberty." Prominent examples of this include Carrie (1976), Ginger Snaps (2000), and American Mary (2012). Buffy discovers at the onset of puberty that she is "not quite" human, but instead comes from a long line of female warriors who fight demons and vampires on earth.
Indeed, Brian De Palmas Carrie (1976) has provided a fruitful example to address how monstrosity is conflated with the female bodys sexuality and fertility in horror film remembered in great part due to the infamous plug it up! shaming sequencea pop culture moment in its own right, echoed in remakes of Carrie (2013, dir. Horror, Femininity and Carrie's Monstrous Puberty, (1987). The Horror Film in Neoconservative Culture (Christopher Sharrett) 13. In The dread of difference: Gender and the horror film, edited by B. K. Grant , 279-295. An undying procession of sons of Dracula and daughters of darkness has animated the horror film genre from the beginning. Indeed, in this pioneering exploration of the cinema of fear, Barry Keith Grant and twenty other film critics posit that horror is always rooted in gender, particularly in anxieties about sexual difference and gender politics. Is the Rectum a Grave? After the initial shock of the onset of womanhood, Carries new maturity presents her with the possibility 285, 288, 289. Horror, Femininity, and Carrie's Monstrous Puberty (Shelley Stamp Lindsey) 13. Collection of essays, edited by Barry Keith Grant, focusing on the theme of gender within the horror film genre. Creed discusses depictions of the monstrous-feminine in horror film, but her argument that abjection is central to the recurring image of the monstrous-feminine in horror movies is also applicable to the monstrous in Sherman (Mulvey 148).
Barry Keith Grant. In Men Women and Chainsaws: Carrie and the Boys. The horror film genre is a movie genre containing multiple subgenres. Horror films resemble a mirrored object. Google Scholar Stephen King, In this essay we analyse William Friedkins 1973 film, The Exorcist, and why young girls and women are such effective horror movie subjects, analysing puberty, society's fear of a young woman entering puberty, and the influence of the mother-daughter relationship in who a young woman becomes later i. Read Horror, Femininity, and Carrie's Monstrous Puberty; Read Cult Movie Review: Carrie; Read Pretty Bloody: Women and Horror Stereotypes; Posted with Blogsy. Raw (2016) 'Raw' Official Trailer (2016) Watch on. Horror, Femininity, and Carrie's Monstrous Puberty (Shelley Stamp) 15. 22 reviews.
Horror, Femininity, and Carrie's Monstrous Puberty. A goal of this genre includes invoking responses of trepidation and panic from the audience. Lindsey, Shelley Stamp. [30] In fact, in one hazing ritual in Raw that mirrors this scene from Carrie. La mia raccolta 14. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. October 43 (1977). Is the Rectum a Grave? and familial as horrific, Carrie (1976) en gages the language of fantasy to represent the terrain of female adolescence. The Horror Film in Neoconservative Culture (Christopher Sharrett) 13. Aviva Briefel states in her article, "Monster Pains: Masochism, Menstruation, and Identification in the Horror Film," that menstruation is the start of monstrosity. Once a girl has reached puberty she is seen to be monstrous. The Monster as Woman: Two Generations of Cat People (Karen Hollinger) 16. 2. Horrible Bodies: The (new) body politics of horror In an interview, Tom Sherak once said, Film is a reflection of society, both present and past. [1] Indeed, by watching a film one can gauge a lot about its time current events, social relations, structures, but also anxieties. Description: The Journal of Film and Video, an internationally respected forum, focuses on scholarship in the fields of film and video production, history, theory, criticism, and aesthetics. The representation of gender in horror films, Once a girl has reached puberty she is seen to be monstrous.
97-122. Its rarely on the shelf at my university library, so continuously does it circulate. The Dread of Difference by Barry Keith Grant, 9780292771376, available at Book Depository with free delivery worldwide. The Monster as Woman: Two Generations of Cat People (Karen Hollinger) 14. 12/4 - Class 14. Horror films feed into the female monsters identity through her menstruation, since this is a point of contrast from male anatomy and physiology. ), The Dread of Difference: Gender and The Horror Film, Austin: University of Texas Press, pp. The film is in essence a melodramatic The film opens with Carries first menstruation, a mysterious and shameful event for the sheltered outcast. Torture Porn and Uneasy Feminisms: Rethinking (Wo)men in Eli Roths Hostel Films (Maisha Wester) Part Three. Austin, TX: University of Texas, 279 295. 1970s Horror Film Indicate if Seminar and/or Writing II course Seminar 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Shelley Stamp. Menstrual Mediations. On Female Bodily Experience. The Dread of Difference: Gender and the Horror Film (Austin: University of Texas Press, 1996), pp. JSTOR. Horror, Femininity, and Carrie's Monstrous Puberty. SPECIAL TOPICS (crn 3942) HORROR & THRILLER FILMS. A goal of this genre includes invoking responses of trepidation and panic from the audience. 7 answers. Carrie (1976), and . Google Scholar . #12, Lindsey: Horror, Femininity, and Carries Monstrous Puberty and #17 Wood, Burying the Undead: The Use and Obsolescence if Count Dracula. The Dread of Difference: Gender and the Horror Film. It is a very problematic representation of female empowerment. horror, femininity, and carrie's monstrous puberty By JEFFREY J CAPPELLO on June 2, 2011 10:19 PM | 3 Comments | 0 TrackBacks The 1976 film Carrie, about a girl who discovers she has telekinetic powers when she has her first period, is often seen as a film about a positive rebellion against a sexually repressive society. The Entity (1982), to take an oft-cited example, seems to be a genderless monster, but as a supernatural force that sexually victimizes a female character it clearly embodies a monstrous masculinity. "Horror, Femininity, and Carrie's Monstrous Puberty." (1) Horror, Femininity, and Carrie's Monstrous Puberty (2) Cult Movie Review: Carrie (3) Pretty Bloody: Women and Stereotypes in Horror; Read Sonny's Blues; Posted by Mickey Moses at 10:21 AM No comments: Email This BlogThis!
Brian de Palmas 1976 film Carrie has become a seminal text in female horror for its blending of the trials of adolescence with a dash of the supernatural. Torture Porn and Uneasy Feminisms: Rethinking (Wo)men in Eli Roths Hostel Films (Maisha Wester) Part Three. Shelley Stamp Lindsay, Horror, Femininity and Carries Monstrous Puberty, in Barry Keith Grant (ed.). Web. Begin ning with Carrie's first menstrual period, her initiation into mature female sexuality, the film traces the development of femi ninity to its (nearly) successful conclu sion. Identifying the Monstrous feminine as a recurring theme in Gothic works, Creed argues that it is most often the all-devouring womb of the archaic mother which generates the horror (63). Horror, Femininity and Carrie's Monstrous Puberty, (1987). 808 certified writers online. Learn More. 14. Creed is a graduate of Monash and La Trobe universities where she completed doctoral research using the framework of psychoanalysis Horror, Femininity, and Carries Monstrous Puberty. The Dread of Difference Second Edition, University of Texas Press, 2015, p. 329-345. Based on the novel by Stephen King, De Palma filled his cast with unknown talent, and he fished from a big pond. Lindsey, SS (1996) Horror, femininity, and Carries monstrous puberty. Long before there were anti-bullying campaigns, Carrie (1976) showed us how teenage cruelty can lead to outright death and bloody trauma. Cerca nel pi grande indice di testi integrali mai esistito. As you're reading these articles, take notes on the different themes these writers saw in the movie Carrie. While less explicit in other teenage girl-monster movies, the notion of monstrous puberty persists as subtext. (2005). The Dread of Difference: Gender and the Horror Film (Austin: University of Texas Press, 1996), pp. Contents: When the woman looks by Linda Williams; Horror and the monstrous-feminine: an imaginary abjection by Barbara Creed; Her body, himself: gender in the slasher film by Carol J. Clover; "It will thrill you, it may shock you, it might even horrify you": gender, Shelley Stamp Lindsey, Horror, Femininity, and Carries Monstrous Puberty in The Dread of Difference: Gender and the Horror Film, ed. Critics and researchers claim that these films depict graphically detailed violence, contain erotically or sexually charged situations which verge on becoming pornographic, and focus more on injuring or killing female Horror films feed into the female monsters identity through her menstruation, since this is a point of contrast from male anatomy and physiology. Horror, femininity, and Carrie's monstrous puberty. Article features include film and related media, problems of education in these fields, and the function of film and video in society. The Dread of Difference: Gender and the Horror Film. 12. However, my analysis of these films deviates slightly from Creeds Dual Images of the "Monstrous Feminine" in Three Horror Films . The blood of the crucifix connects Carries first period to the suffering of Christ, deepening the relationship between debased femininity and religion. Horror, Femininity and Carrie's Monstrous Puberty, (1987). 12. Austin: University of Texas Press, 1996. Then, when Carrie gets pig blood dumped on her head at the prom, theres not just more of it in the second film: Pierce shows the blood landing on her in slow motion three times . Barbara Creeds The Monstrous-Feminine (1993) is a must-read for anyone interested in the female monsters (and female monstrosity) present in the modern horror film.For my oral exam list, I chose to focus on the first section of her book, Part I: Faces of the Monstrous-Feminine, which provides both a definition and foundation for the term monstrous-feminine, The audience relates only with masculinity and disdains femininity. In: Grant, BK (ed.) 55. very overt feminine aspects of Carries talethe preoccupation with menstruation; the suffering she faces as a result of her female body and puberty being demonized by those around her or to suggest that a female Lindsey, Shelley Stamp. 285, 288, 289. In The dread of difference: Gender and the horror film, edited by B. K. Grant , 35-65.
Stamp Lindsey, Shelley (1996), Horror, Femininity and Carries Monstrous Puberty, in Barry Keith Grant (ed. Now this new edition expands the already comprehensive coverage of gender in the horror film with new essays on recent developments such as the Hostel series and torture porn. University of Illinois Press, n.d. View The movie Carrie.docx from PHYSICS 1 at Saint Mary's College of California. When she learns that her budding telekinetic powers are directly linked to the physical maturation of her body, Carrie embraces her gift, rebelling against her mothers scare tactics.
As you're reading these articles, take notes on the different themes these writers saw in the movie Carrie. The plot of the film is linear and chronological, in which the problematic life of the schools scapegoat Carrie White (played by Sissy Spacek) is shown (De Palma). "Horror, Femininity, and Carrie's Monstrous Puberty." It is also worth mentioning the natural connection to be made between blood-soaked dresses (or other womens clothing) and menstrual blood, especially for female characters that have or are hitting puberty, i.e. The horror genre uses monstrous transformation as metaphors for puberty in young girls, and cannibalism and sexuality are the subsequent conduits for their liberation. 279-295. According to Barbara Creed in her essay Horror and the Monstrous Feminine: An Imaginary Abjection, the push and pull tactics between Carrie and her mother arent unique to the story. "Horror, Femininity, and Carrie's Monstrous Puberty." Motherhood and menstruation become things
This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. A girls gotta eat, but Raw takes the term man-eater to a whole new level. Ed.
The Horror Film in Neoconservative Culture (Christopher Sharrett) 13.
Is the Rectum a Grave?
The Monster as Woman: Two Generations of Cat People (Karen Hollinger) 14.
Barry Keith Grant (Austin: University of Texas Press, 1996), 281.
Barry Keith Grant. QUESTION "Ismene, dear sister, You would think that we had already suffered enough for the curse on Oedipus: I cannot imagine any grief that you and I have not gone through" 4 answers. The audience relates only with masculinity and disdains femininity. The Dread of Difference is a classic.
FIRST PAPER DUE **(At home view either CARRIE (DePalma,1976) or THE EXORCIST (Friedkin,1973)) October 43 (1977). Horror, Femininity, and Carries Monstrous Puberty (Shelley Stamp) 15.
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.She is the author of six books on gender, feminist film theory, and the horror genre.