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244:. According to Kristeva, abjection is the failure to distinguish what constitutes as "self", and what is "other". It is a breakdown of borders between human existence and non-existence. Creed argues that abjection theory is profoundly engrained within the horror genre. She explains this by focuses on how horror emphasizes boundaries of humanity and beyond. Within horror films this theory of a border and the breaking of rules and norms is important as it relates to the formation of the monstrous, which suggests that anything that navigates or exists across this "border" is abject.
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monstrous feminine horrifies her audience through her sexuality, as she is either constructed as a virgin or a whore. She explains that concepts of the monstrous feminine within horror arose from male concerns regarding female sexual difference and castration. Creed asserts that there are a variety of different appearances of the monstrous feminine which all reflect female sexuality: archaic mother, monstrous womb,
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in relation to the concept of ‘jacking-in’, that is the use of technology to alter reality and experience life in other people's minds much like virtual reality. Creed argues that the development of technology in the twentieth and twenty-first centuries has allowed people to experiment with reality
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traits and tasks. Creed uses the expression "monstrous feminine" because it accentuates the significance of gender in relation to the construction of monstrosity. Creed refrains from using the term "female monster" as it suggests a mere "role reversal of the ‘male monster". Creed argues that the
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In her 1987 paper, "From Here to
Modernity: Feminism and Postmodernism", Creed's approach to understanding the monstrous male figure also draws on Kristeva's notion of abjection. Creed examples that in examples where the monster is clearly defined as male, its status as male identifies it with a
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and is "caught between the opposing forces of culture and nature, the civilized and primitive". Throughout this piece, she makes connections to the notion of the ‘primal uncanny’, which suggests that men as monsters. The ‘primal uncanny’, as Creed looks at, was firstly discussed in
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Women in horror films have been consistently represented and portrayed as weak, submissive, and highly sexualized. Creed argues that within horror films, the male gaze is oftentimes the central focus. conceptions of female sexuality are inherent within the horror genre, as a common
747:, Barbara Creed reflects on the representation of men in the horror genre, with a specific focus on how they are portrayed in comparison to women. This piece offers a feminist analysis on sex difference in the horror genre, as well as the order in which male monsters innate
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and follows the myth that female genitalia are monster-like, having teeth. Creed discusses how this creates a fear that women are allegedly actively trying to castrate men. Barbara Creed frequently mentions in her work that horror movies play on this fear of the
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The
Monstrous Feminine refers to the interpretation of horror films conceptualizing women, predominantly, as victims. Throughout the book, Creed observes how women are positioned as victims within the horror film genre, and challenges this overriding
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wherein she discusses the image of the ‘archaic mother’ with the female vampire being ‘mother’ and her lover or victim as ‘child’ whom she promises eternal life to. Creed also interrogates at the portrayal of desire and lesbianism in the horror film
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theorizes that women once had penises, and are themselves castrated, resulting in the formation of female genitalia, and due to this "penis envy", seek to castrate men of their penises to make them as lacking as women. Freud applies this theory to
160:, completing her doctrinal thesis and research on the cinema of horror. Creed pursued the use of feminist theory and psychoanalysis in her examination of horror films. She currently works within the School of Culture and Communication at the
442:. Creed argues that the use of blood and gore are meant to depict women as demonized or monstrous. Moreover, oftentimes possessed women are on the verge of menstruation and their blood is meant to symbolize or suggest a fear of
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and how these theories can be applied to horror films. Her work seriously considers the subjects of feminism, psychoanalysis, and post-culturalism. Her themes of investigation incorporate, horror cinema, depictions of sex, and
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is one of Creed's major feminist influencers, as she studied
Kristeva in great depth, particularly with her examination of the abject. Creed wrote an essay on Kristeva and film in 1985 for the British Film Journal. Creed's
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clearly depicts this theory. These ideals are clearly imbedded within phallocentric philosophy. Creed's ideology of the woman's reproductive system is similarly analyzed within the works of
Kristeva.
224:, who warrant their own death, wherein only the "pure" women deserve to live. On the other hand, women depicted as villains are portrayed as innately evil, and their monstrosity is connected to their
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is that virtuous or "pure" women survive to the end of the film, and women who exhibit sexual behaviour commonly die early into the narrative. This exemplifies how sexually active women are
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is derived from Freud's concepts of sexual difference, believing that women are substantially different from men, and that all women desire to be a man or masculine-like, suffering from a
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also examines the role of media and news in the modern era, with a particular interest to how an overwhelming majority of fiction showcases the horrific, evokes fear, and the
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arguing that when the two female vampires kiss there is an eruption of blood in the women's mouths, which represents how lesbian relations are deadly and consequential.
616:. Creed argues that a woman's deep connection to natural events such as reproduction and birth is considered ‘quintessentially grotesque’. Creed reflects back to the
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is a mythological creature whose stare can turn people to stone, particularly men, and who has a head covered in snakes, which Creed argues is a deadly symbol of the
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theory therefore can be applied to the monstrous feminine, particularly the themes of the mother-child relationship and the mother's womb, which both relate to the ‘
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lack, and hence defines it as feminized. In this, "lack" signifies the female, wherein male monsters are identified as abject, lacking; ultimately feminine.
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735:. Creed defines this "crisis TV", wherein news reporters focus on disasters to provoke anxiety and immediacy, and bring the abject into reality.
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only really considered death and the feeling of horror in relation to male monsters and didn't examine the role of women, nature and animals.
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and origins. Creed uses films that were influenced by Darwin in the nineteenth century to analyze film techniques related to Darwin's works.
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Chanter, Tina (2010). "Abjection, or Why Freud
Introduces the Phallus: Identification, Castration Theory, and the Logic of Fetishism".
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and representation in the public sphere. She includes a definition of "Matrix" in the book's introduction, which she describes as a, "
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Creed places emphasis on this idea of the monstrous-womb, as the maternal body has been considered a source of anxiety to the
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viewpoint by arguing that when the feminine is fabricated as monstrous, it is commonly achieved through association with
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to describe how patriarchal society separates the human from the non-human, and rejects the "partially formed subject".
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and time, and disassociate one's self from their own reality, as well as challenge ideas of "fixed personal identity".
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also investigates the monstrous figure of witches. Creed critically examines the history of the "witch" from the
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Gear, Rachel (2001). "All those nasty womanly things: Women artists, technology and the monstrous-feminine".
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Creed, Barbara (2002). Jancovich, M (ed.). "Horror and the monstrous-feminine: an imaginary abjection".
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486:, to settings such as dark and narrow hallways, deadly traps and doors, and spaceships such as that in
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investigates the types of monsters that women are portrayed as in horror films, particularly examining
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409:’ were associated with healers and users of magic, but during the fourteenth century in the period of
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of sexual difference, and the marking of female sexuality as dangerous, as Freud believed women had
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Barbara Creed is a well-known
Australian commentator on film and media. She is a graduate of
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work as just the ‘uncanny’ that linked to ideas of psychoanalysis and castration. Yet,
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was published in 1993 and clearly draws inspiration from her earlier work on
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Barbara Creed has published a multitude of material on gender and horror, including:
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explores the impact of media and technology on subjects such as the self, identity,
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A woman's reproductive system has long been depicted as abhorrent and intimidating.
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Hollows, Joanne; Jancovich, Mark (1995). Hollows, Joanne; Jancovich, Mark (eds.).
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Darwin's
Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema,
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Darwin's
Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema
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Darwin's
Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema
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within horror movies is often depicted as monstrous, for example, the 1979 film
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was believed to be a sin and in service to the devil. Barbara Creed examines
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Allmark, Panizza (2007). "Masculinity in crisis: the uncanny male monster".
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draws on many examples of male monsters from the classic film adaption of
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universities where she completed doctoral research using the framework of
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Another prominent monstrous figure that Creed discusses in her work is
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framework validates its usefulness in the feminist film theory field.
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On Sexuality: Three essays on the theory of sexuality and other works
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and one-dimensional understanding of women. Creed challenges this
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and even include it visually in films, through enormous toothed
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and the female genitalia as monstrous. Creed examines Freud's
1086:. Manchester, UK: Manchester University Press. p. 147.
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At the University of Melbourne in 2013, Creed established
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Monstrous-Feminine: Film, Feminism, Psychoanalysis (1993)
188:. Creed's work relies on a number of theorists including
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is depicted in connotation with evil and the devil. The
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405:. She identifies that early historical definitions of ‘
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Human Rights and Animal Ethics Research Network (HRAE)
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The Monstrous-Feminine: Film, Feminism, Psychoanalysis
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The Monstrous-Feminine: Film, Feminism, Psychoanalysis
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The Monstrous-Feminine: Film, Feminism. Psychoanalysis
804:. She is on a variety of worldwide editorial panels.
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Phallic Panic: Film, Horror & the Primal Uncanny
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the Human Rights and Animal Ethics Research Network.
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Fellows of the Australian Academy of the Humanities
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The Dread of Difference: Gender and the Horror Film
1374:Phallic Panic: Film, Horror and the Primal Uncanny
1066:Phallic Panic: Film, Horror and the Primal Uncanny
745:Phallic Panic: Film, Horror and the Primal Uncanny
739:Phallic Panic: Film, Horror and the Primal Uncanny
668:and that they were castrators of men. The idea of
108:in the School of Culture and Communication at the
168:. Her current research includes human rights and
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1196:Women, Monstrosity and Horror Film: Gynaehorror
264:Primarily, Barbara Creed's works focus on the
140:to examine horror films. She is known for her
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1382:(Melbourne: Melbourne University Press, 2009)
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280:'s work on semiotics. Creed's work using the
636:Freud, Psychoanalysis and Women as Castrator
329:Monstrous-Feminine and the Types of Monsters
236:Creed further acknowledges the influence of
784:Barbara Creed examines the uncanny through
104:(born 30 September 1943) is a professor of
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800:In 2006 Creed was elected a Fellow of the
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832:Darwin's Screens: Evolutionary Aesthetics
652:discusses the psychoanalysis theories of
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1313:. Melbourne: Melbourne University Press.
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1068:. Melbourne: Melbourne University Press.
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175:Overall, Creed's work is of interest to
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1210:"Castration Complex | Encyclopedia.com"
1144:Powers of Horror: An Essay on Abjection
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1354:(London and New York: Routledge, 1993)
1146:. New York: Columbia University Press.
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112:. She is the author of six books on
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496:Types of Monstrous-Femininity
310:reproductive bodily functions
240:, by examining the notion of
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1279:. Sydney: Allen & Unwin.
164:where she is a professor of
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1127:Chaudhuri, Shohini (2006).
1107:Grant, Barry Keith (1996).
929:findanexpert.unimelb.edu.au
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1442:La Trobe University alumni
1406:Barbara Creed's Staff Page
1198:. New York, NY: Routledge.
1084:Approaches to Popular Film
1194:Harrington, Erin (2018).
925:"Prof Barbara Anne Creed"
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124:. Creed is a graduate of
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1183:. London: Penguin Books.
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162:University of Melbourne
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1040:. New York: Routledge.
878:Gender in horror films
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457:and her severed head.
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288:The Monstrous-Feminine
270:patriarchal ideologies
205:The Monstrous-Feminine
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796:Awards and committees
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873:Feminist film theory
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158:La Trobe University
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1427:1943 births
1387:Filmography
830:(2005) and
749:masculinity
693:Other works
618:Renaissance
465:. The term
431:he Exorcist
415:witch hunts
403:Catholicism
399:Middle Ages
376:(1992) and
360:concept of
314:matriarchal
302:patriarchal
211:Key focuses
172:on screen.
1421:Categories
1219:17 October
674:penis-envy
670:castration
658:castration
620:where the
549:The Hunger
444:castration
419:witchcraft
378:The Hunger
358:Kristeva's
246:Kristeva's
148:Early life
120:, and the
75:Discipline
59:Alma mater
37:1943-09-30
1245:: 48–66.
708:sexuality
614:male gaze
534:The Brood
362:abjection
306:masculine
242:abjection
1168:: 67–76.
842:See also
838:(2009).
826:(2003),
822:(1993),
770:werewolf
480:monsters
369:Vampires
350:vampires
186:feminism
130:La Trobe
934:7 March
909:7 March
754:Freud's
599:(1960).
587:(1973).
585:Sisters
544:Vampire
524:(1973).
436:puberty
380:(1983),
374:Dracula
346:witches
319:vampire
222:harlots
1395:(1975)
1334:30 May
1090:
733:abject
687:Medusa
622:uterus
597:Psycho
580:(1978)
564:(1976)
562:Carrie
551:(1983)
538:(1979)
511:(1979)
484:aliens
459:Medusa
455:Medusa
424:Carrie
354:Medusa
192:, and
154:Monash
126:Monash
114:gender
884:Notes
758:Freud
630:Alien
557:Witch
509:Alien
489:Alien
407:witch
323:witch
218:motif
1336:2024
1221:2018
1088:ISBN
936:2020
911:2020
720:and
712:womb
648:The
582:and
438:and
427:and
413:and
393:The
276:and
260:Work
179:and
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136:and
128:and
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31:Born
1247:doi
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