Why Is the Tension So High? The Monstrous Feminine in (Post)Modern Slasher Films

2014 ◽  
Author(s):  
Dejan Ognjanović
Keyword(s):  
Monstrous Feminine ◽  
Slasher Films

Winged Goddesses of Sexuality, Death, and Immortality

2017 ◽  
Author(s):  
Serinity Young
Keyword(s):  
Near East ◽  
Ancient Greece ◽  
Ancient Near East ◽  
Funeral Rites ◽  
Monstrous Feminine

The winged Egyptian goddess Isis is an ancient and complex deity, whose mythology presents her as bestower of fertility and immortality. This chapter follows up on these themes, and the linked relationship between fertility and immortality, by exploring the involvement of women with funeral rites, and concepts of the afterlife in the Ancient Near East and Ancient Greece involving goddesses, who combine sexuality and fertility, war and death, and the promise and hope of immortality. There is a further exploration of ancient bird goddesses demonized via the concept of the monstrous-feminine: furies, harpies, and sirens—all of whom pose a particular danger to men, not women.

scholarly journals THE CONSTRUCTION OF MONSTROUS WOMEN THÉRÈSE DESQUEYROUX BY FRANÇOIS MAURIAC

2021 ◽  
Vol 9 (2) ◽  
pp. 87
Author(s):  
Wulan Nurrahma Azhari ◽  
Wening Udasmoro ◽  
Subiyantoro Subiyantoro
Keyword(s):  
Content Analysis ◽  
Strongly Correlated ◽  
Analysis Method ◽  
Patriarchal System ◽  
Content Analysis Method ◽  
Study Results ◽  
French Culture ◽  
Monstrous Feminine ◽  
Francois Mauriac

Issues of domestication, minority, and discrimination have frequently put women in inferior position in society. When women seek equality, they are often framed as embracing monstrous attitudes. This study focuses on François Mauriac’s novel titled Thérèse Desqueyroux (1927) with the intention of exploring the meanings and the significations in its construction of women as monsters. It has been observed that women are depicted as monsters because their struggle for freedom is seen as a challenge to the patriarchal system. The aims of this study are to find out and to describe the influential aspects in the construction of women as monsters and how such construction creates meanings. The study relies on content analysis method and follows three steps of analysis: collecting data relevant to monstrosity, classifying data based on the themes and problems related to the topic, and analyzing the data using Barbara Creed’s theory of the monstrous feminine (2007). The study results in the finding that the construction of women as monsters is strongly correlated with the deep institutionalization of patriarchy in French culture. Penempatan perempuan pada posisi inferior dalam banyak narasi disebabkan oleh faktor-faktor domestifikasi, minoritas, dan diskriminasi. Ketika perempuan memperjuangkan kesetaraan, mereka dianggap membangkang dan disimbolkan sebagai monster. Konstruksi monster terhadap perempuan ini terlihat pada novel François Mauriac berjudul Thérèse Desqueyroux (1927). Tulisan ini mencoba memahami makna dan pemaknaan konstruksi perempuan sebagai monster dalam novel tersebut. Studi ini menemukan bahwa perempuan digambarkan sebagai monster karena perjuangan mereka untuk mencapai kebebasan dianggap menentang struktur patriarki. Tujuan dari studi ini adalah menemukan dan mendeskripsikan aspek-aspek yang berkaitan dengan proses pemonsteran perempuan dan bagaimana proses tersebut dimaknai. Penelitian ini menggunakan metode analisis isi cerita dan dilakukan dalam beberapa tahap. Tahap pertama adalah pengambilan data yang relevan dengan pemonsteran. Tahap kedua adalah pengklasifikasian data sesuai dengan tema dan permasalahan tentang pemonsteran perempuan. Tahap terakhir adalah analisis data temuan dengan teori Barbara Creed (2007) tentang the monstrous feminine. Studi ini menyimpulkan bahwa konstruksi perempuan sebagai monster berhubungan erat dengan kultur patriarki yang sudah terinstitusionalisasi di dalam budaya Prancis pada masa ketika novel tersebut ditulis.

Figure of fun : gender, performance, and popular entertainment in the theatrical career of Trixie Friganza, 1889-1940

2016 ◽  
Author(s):  
◽  
Franklin J. Lasik
Keyword(s):  
Gender Performance ◽  
Popular Entertainment ◽  
University Of Missouri ◽  
Monstrous Feminine ◽  
The University

[ACCESS RESTRICTED TO THE UNIVERSITY OF MISSOURI AT REQUEST OF AUTHOR.] This study examines Friganza's many performances of gender over the course of her career, from her first appearance as a young, nubile chorus girl in The Pearl of Pekin (1889) to her screen appearance in the film How to Undress In Front of Your Husband (1937), investigating how her gendered performances both supported and subverted dominant ideals of femininity. This study reveals how at several points Friganza adapted her performance of femininity, moving from the object of desire as the ultra-feminine chorus girl to the less-feminized object of fun as a comedienne, and finally, to the monstrous feminine of her vaudeville performances, in which she largely rejected the dominant expectations of femininity.

Parenthood, Adolescence and Childhood Under the Knife

Halloween ◽  
2015 ◽  
pp. 71-82
Author(s):  
Murray Leeder ◽  
Murray Leeder
Keyword(s):  
Horror Film ◽  
Central Theme ◽  
Lost Generation ◽  
Adults And Children ◽  
The 1950S ◽  
Slasher Films

This chapter examines adolescence as a central theme in Halloween (1978) in a slightly different way, as invoking (and attempting to resolve) the rootlessness of adolescence in the Lost Generation. The character of Laurie Strode is divided between the realms of adults and children, but this capacity for category mobility ultimately proves valuable. Cast in the roles both of virgin and mother, her ability to properly navigate, embrace adult responsibilities and retrain a child's intuition is ultimately what allows Laurie to save herself. The 1950s and John Carpenter's childhood saw the birth of the teen horror film, which followed swiftly on the heels of the ‘invention’ of the American teenager as a discrete segment of the population. In a sense, Halloween is an inheritor to the ‘horror teenpics’ or the ‘weirdies’ of the 1950s, and similarly owed much of its success to its ability to knowingly target the large teenage demographic. The slasher films that followed Halloween would do the same, and it seems no major exaggeration to say that, if slasher films collectively are ‘about’ anything, they are about adolescence.

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