Re-reading the Monstrous-Feminine: Art, Film, Feminism and Psychoanalysis (Routledge Advances in Film Studies) PDF
Preview Re-reading the Monstrous-Feminine: Art, Film, Feminism and Psychoanalysis (Routledge Advances in Film Studies)
Re-reading the Monstrous-Feminine ‘Re-reading the Monstrous-Feminine offers a welcome, far-reaching and much-overdue re-appraisal of one of the most influential pieces of scholarship on women, horror, and psychoanalytic film theory.’ —Erin Harrington, University of Canterbury, New Zealand ‘It is long past time for an extended appraisal of Barbara Creed’s ground-break- ing conception of the “monstrous-feminine,” and this collection makes clear the continued relevance of Creed’s theory to a proliferating array of bodies and texts.’ —Dawn Keetley, Lehigh University, USA This book provides a critical reappraisal of Barbara Creed’s groundbreaking work of femi- nist psychoanalytic film scholarship, The Monstrous- Feminine, which was first published in 1993. The Monstrous-Feminine married psychoanalytic thinking with film analysis in radically new ways to provide an invaluable corrective to conventional approaches to the study of women in horror films, with their narrow emphasis on woman’s victimhood. This volume, which will mark 25 years since the publication of The Monstrous-Feminine, brings together essays by international scholars working across a variety of disciplines who take up Creed’s ideas in new ways and fresh contexts or, more broadly, explore possible futures for feminist and/or psychoanalytically informed art history and film theory. Nicholas Chare is Associate Professor in the Department of History of Art and Film Studies at the Université de Montréal, Canada. He is the author of After Francis Bacon (2012) and Sportswomen in Cinema (2015) and the co-editor with Liz Watkins of Gesture and Film (2017) and with Katharina Bonzel of Representations of Sports Coaches in Film (2017). Jeanette Hoorn is Honorary Professorial Fellow and a former Director of Gender Studies and Associate- Dean EO in the Faculty of Arts at the University of Melbourne, Australia. In 2014 she designed Sexing the Canvas, filmed and taught at National Gallery of Victoria, Museum of Modern Art New York, and Huntington Library in Pasadena on the Coursera platform https://www.coursera.org/course/sexingthecanvas. Her books include Australian Pastoral: The Making of a White Landscape, 2007; Reframing Darwin: Evolution and Art in Australia, 2009; Body Trade: Captivity, Cannibalism and Colonialism in the Pacific, 2001; Idylle Marocaine, Hilda Rix Nicholas et Elsie Rix en Maroc, due October 2019 with Afrique Orient. Her essays have appeared in Art and Australia, Screen, Third Text, Continuum, Transnational Cinemas, Hecate, Australian Historical Studies; Photofile. Audrey Yue is Professor in Media, Culture and Critical Theory, Head of Communications and New Media, and Convenor of the Cultural Studies in Asia PhD Programme at the National University of Singapore. She is author, co-author and co-editor of Sinophone Cinemas (2014), Transnational Australian Cinema (2013), Queer Singapore (2012), Ann Hui’s Song of the Exile (2010), AsiaPacifiQueer (2008) and Mobile Cultures: New Me- dia in Queer Asia (2003). Her recent essays appear in Media and Communication; In- ternational Journal of Communication; Inter-Asia Cultural Studies and Urban Studies. Routledge Advances in Film Studies Emotion in Animated Films Edited by Meike Uhrig Post-Production and the Invisible Revolution of Filmmaking From the Silent Era to Synchronized Sound George Larkin New Approaches to Cinematic Space Edited by Filipa Rosário and Iván Villarmea Álvarez Melancholy in Contemporary Cinema A Spinozian Analysis of Film Experience Francesco Sticchi Found Footage Horror Films A Cognitive Approach Peter Turner Affect and Embodied Meaning in Animation Becoming-Animated Sylvie Bissonnette Classical Hollywood Film Cycles Zoë Wallin Re-reading the Monstrous-Feminine Art, Film, Feminism and Psychoanalysis Edited by Nicholas Chare, Jeanette Hoorn and Audrey Yue Ethics of Cinematic Experience Screens of Alterity Orna Raviv For more information about this series, please visit: https://www.routledge.com Re-reading the Monstrous-Feminine Art, Film, Feminism and Psychoanalysis Edited by Nicholas Chare, Jeanette Hoorn and Audrey Yue First edition published 2020 by Routledge 52 Vanderbilt Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2020 Taylor & Francis The right of Nicholas Chare, Jeanette Hoorn and Audrey Yue to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Library of Congress Control Number: 2019949347 ISBN: 978-1-138-60294-6 (hbk) ISBN: 978-0-429-46936-7 (ebk) Typeset in Sabon by codeMantra Contents Acknowledgments ix 1 Re-reading The Monstrous-Feminine: New Approaches to Psychoanalytic Theory, Affect, Film, and Art 1 NICHOLAS CHARE, JEANETTE HOORN, AND AUDREY YUE PART I Introduction: Feminism and Psychoanalysis 35 NICHOLAS CHARE, JEANETTE HOORN, AND AUDREY YUE 2 Symmetry and Incident: Laura Mulvey in Conversation with Nicholas Chare 43 LAURA MULVEY 3 A Dream of Bare Arms: ‘Womanliness’, Dirt, and a Quest for Knowledge 53 ANNETTE KUHN 4 Feminism, Film, and Theory Now 66 ELIZABETH COWIE PART II Introduction: Expanding the Monstrous-Feminine 89 NICHOLAS CHARE, JEANETTE HOORN, AND AUDREY YUE 5 The Monstrous-Feminine, Then and Now: Barbara Creed in Conversation with Nicholas Chare 95 BARBARA CREED vi Contents 6 Abjection beyond Tears: Ellyn Burstyn as Liminal (On Set) Mother in The Exorcist 106 MARK NICHOLLS 7 Carrie’s Sisters: New Blood in Contemporary Female Horror Cinema 121 PATRICIA PISTERS PART III Introduction: Reproductive and Post-Reproductive Bodies and the Monstrous-Feminine 139 NICHOLAS CHARE, JEANETTE HOORN, AND AUDREY YUE 8 ‘I Will Not Be That Girl in the Box’: The Handmaid’s Tale, Monstrous Wombs and Trump’s America 146 TARA BRABAZON 9 ‘From a Speculative Point of View I Wondered Which of Us I Was’: Re-reading Old Women 161 SNEJA GUNEW 10 The ‘Monstrous-Feminine’: Dementia, Psychoanalysis, and Mother-Daughter Relations in Dana Walrath’s Aliceheimer’s 173 E. ANN KAPLAN PART IV Introduction: Rethinking the Monstrous-Feminine through a Transnational Frame 187 NICHOLAS CHARE, JEANETTE HOORN, AND AUDREY YUE 11 Polluted Water: Demotic Thai Cinema and Queer Abjection in the Films of Poj Arnon 193 BRETT FARMER 12 The Monstrous-Feminine in the Millennial Japanese Horror Film: Problematic M(O)thers and Their Monstrous Children in Ringu, Honogurai mizo no soko kara and, Ju-On 209 VALERIE WEE Contents vii 13 Women in the Way? Re-reading The Monstrous- Feminine in Contemporary Slovenian Cinema 230 POLONA PETEK 14 In-Your-Face: The Monstrous-Feminine in Photography, Performance Art, Multimedia, and Painting 241 JEANETTE HOORN List of Contributors 255 Index 259 Acknowledgments We would like to thank Michelle Gewurtz, Wilson Koh and Silvestra Mariniello for their help and practical support at various stages of the preparation of this manuscript. We are also indebted to Jane Brown at the Visual Cultures Resource Centre in the School of Culture and Communications at the University of Melbourne for her help in sourcing images and permissions. Additionally we would like to thank the anonymous reviewers for their helpful comments and insights regarding an earlier draft of the volume. We are also grateful to Suzanne Richardson, Karthikeyan Subramaniam, Felisa Salvago-Keyes, Richa Kohli, Eleanor Catchpole Simmons and Isabella Vitti at Routledge who have been a pleasure to work with throughout.
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