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| barbara creed film and psychoanalysis: The Monstrous-Feminine Barbara Creed, 2015-09-04 In almost all critical writings on the horror film, woman is conceptualised only as victim. In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, T |
| barbara creed film and psychoanalysis: Horror Film and Psychoanalysis Steven Jay Schneider, 2004-06-28 Psychoanalytic theory has been the subject of attacks from philosophers, cultural critics and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema in a series of essays that debate its legitimacy, utility and validity as applied to the horror genre. It distinguishes itself from previous work in this area through the self-consciousness with which psychoanalytic concepts are employed and the theorization that coexists with interpretations of particular horror films and subgenres. |
| barbara creed film and psychoanalysis: Phallic Panic Barbara Creed, 2015-08-18 Vampires, werewolves, cannibals and slashers-why do audiences find monsters in movies so terrifying? In Phallic Panic, Barbara Creed ranges widely across film, literature and myth, throwing new light on this haunted territory. Looking at classic horror films such as Frankenstein, The Shining and Jack the Ripper, Creed provocatively questions the anxieties, fears and the subversive thrills behind some of the most celebrated monsters. This follow-up to her influential book The Monstrous-Feminine is an important and enjoyable read for scholars and students of film, cultural studies, psychoanalysis and the visual arts. |
| barbara creed film and psychoanalysis: Re-reading the Monstrous-Feminine Nicholas Chare, Jeanette Hoorn, Audrey Yue, 2019-10-08 This book provides a critical reappraisal of Barbara Creed’s ground-breaking work of feminist 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. |
| barbara creed film and psychoanalysis: Return of the Monstrous-Feminine Barbara Creed, 2022-07-27 This follow-up to the classic text of The Monstrous-Feminine analyses those contemporary films which explore social justice issues such as women’s equality, violence against women, queer relationships, race and the plight of the planet and its multi-species. Examining a new movement – termed by Creed as Feminist New Wave Cinema – The Return of the Monstrous-Feminine explores a significant change that has occurred over the past two decades in the representation of the monstrous-feminine in visual discourse. The Monstrous-Feminine is a figure in revolt on a journey through the dark night of abjection. Taking particular interest in women directors who create the figure of the Monstrous-Feminine, in cinema that foregrounds everyday horrors in addition to classic horror, Creed looks at a range of diverse films including The Babadook, A Girl Walks Home Alone at Night, Nomadland, Carol, Raw, Revenge, and the television series The Handmaid’s Tale. These films center on different forms of revolt, from inner revolt to social, supernatural and violent revolt, which appear in Feminist New Wave Cinema. These relate in the main to the emergence of a range of social protest movements that have gathered momentum in the new millennium and given voice to new theoretical and critical discourses. These include: third and fourth wave feminism, the #MeToo movement, queer theory, race theory, the critique of anthropocentrism and human animal theory. These theoretical discourses have played a key role in influencing Feminist New Wave Cinema whose films are distinctive, stylish and diverse. This is an essential companion to the original classic text and is ideal for students in Gender and Media, Gender and Horror, Gender and Film and Feminist Film theory courses. |
| barbara creed film and psychoanalysis: Pandora's Box Barbara Creed, 2004-01-01 Brings together a collection of classic essays on the important topic of contemporary film theory from the influence of feminism to queer theory and the reasons for the powerful effect of horror films. |
| barbara creed film and psychoanalysis: Body Trade Barbara Creed, Jeanette Hoorn, 2013-12-02 Body Trade exposes myths surrounding the trade in heads, cannibalism, captive white women, the display of indigenous people in fairs and circuses, the stolen generations, the 'comfort' women and the making of the exotic/erotic body. This is a lively and intriguiung comtribution to the study of the postcolonial body. |
| barbara creed film and psychoanalysis: A Companion to Film Theory Toby Miller, Robert Stam, 2008-04-15 This volume of specially commissioned work by experts in the field of film studies provides a comprehensive overview of the field. Its international and interdisciplinary approach will have a broad appeal to those interested in this multifaceted subject. Provides a major collection of specially commissioned work by experts in the field of film studies. Represents material under a variety of headings, including class, race, gender, queer theory, nation, stars, ethnography, authorship, and spectatorship. Offers an international approach to the subject, including coverage of topics such as genre, image, sound, editing, culture industries, early cinema, classical Hollywood, and TV relations and technology. Includes concise chapter-by-chapter accounts of the background and current approaches to each topic, followed by a prognostication on the future. Considers cinema studies in relation to other forms of knowledge, such as critical studies, anthropology, and literature. |
| barbara creed film and psychoanalysis: Powers of Horror Julia Kristeva, 2024-03-26 In Powers of Horror, Julia Kristeva offers an extensive and profound consideration of the nature of abjection. Drawing on Freud and Lacan, she analyzes the nature of attitudes toward repulsive subjects and examines the function of these topics in the writings of Louis-Ferdinand Céline, Marcel Proust, James Joyce, and other authors. Kristeva identifies the abject with the eruption of the real and the presence of death. She explores how art and religion each offer ways of purifying the abject, arguing that amid abjection, boundaries between subject and object break down. |
| barbara creed film and psychoanalysis: The Disruption of the Feminine in Henry James Priscilla L. Walton, 1992 The women of Henry James's novels have intrigued critics for a hundred years. Priscilla Walton brings a post-structuralist feminist perspective to James's work. Drawing on the theories of Jacques Derrida, Helene Cixous, Julia Kristeva, and Luce Irigaray, she focuses on the constructed Otherness of the Feminine. Traditional critics of James have tried to unify and hence confine his works, but in so doing they have ignored the polyvalent nature of his writings. Walton challenges such limited readings by opening up the texts to interpretation and tracing the ways in which the narratives resist closure. She contends that in James's texts the representations of women foreground the limitations that Realist Masculine referentiality has placed on both the Feminine text and the female characters. Because women have no singular presence within Masculine ideology, they cannot be fixed and it is their Otherness which generates the plurality that is privileged in the late works. Walton examines The Turn of the Screw, Roderick Hudson, The Portrait of a Lady, a selection of short stories, and the three novels of the Major Phase. She traces a development within these writings, and argues that, where the early works comprise efforts to confine and grasp the Feminine Other, the later texts implicitly recognize and delight in its fecundity. The texts themselves demonstrate that it is the Feminine Other which gives birth to artistic creation.--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
| barbara creed film and psychoanalysis: Film Feminisms Kristin Lené Hole, Dijana Jelača, 2018-10-03 Film Feminisms offers a global and updated overview of the history, present-day concerns, and future of feminist film and theory. It introduces frameworks from phenomenology, affect theory, and psychoanalysis to reception studies, new media theories, and critical historiography, as well as engaging with key issues in documentary ethics, genre theory, and star studies. This new textbook situates feminist film theory within the larger framework of transnational scholarly approaches, as well as decolonial, queer, disability studies, and critical race theories. It offers a much-needed update on pedagogical approaches to feminist film studies, providing discussions of filmmakers and films that have been overlooked in the field, or that are overdue for further analysis. Each chapter is supported by a variety of pedagogical features including activities, key terms, and case studies. Many of the activities draw on contemporary digital media, such as social media and streaming platforms, to update the field to today's changing media landscape. |
| barbara creed film and psychoanalysis: Feminist Film Theorists Shohini Chaudhuri, 2006-09-27 Since it began in the 1970s, feminist film theory has revolutionized the way that films and their spectators can be understood. This book focuses on the groundbreaking work of Laura Mulvey, Kaja Silverman, Teresa de Lauretis, and Barbara Creed. Each of these thinkers has opened up a new and distinctive approach to the study of film and this book provides the most detailed account so far of their ideas. It illuminates six key concepts and demonstrates their value as tools for film analysis.--Jacket. |
| barbara creed film and psychoanalysis: The Erotic Thriller in Contemporary Cinema Linda Ruth Williams, 2005 This bold and original book examines in detail a relatively new genre of film--the erotic thriller. Linda Ruth Williams traces the genre's exploitation of pornography and noir, discusses mainstream stars (including Michael Douglas and Sharon Stone) as well as genre-branded direct-to-video stars, charts the work of key producers and directors, and considers home videos as a distinct form of viewing pleasure. She maps the history of the genre, analyzing hundreds of movies from blockbusters such as Basic Instinct, Fatal Attraction, and In the Cut to straight-to-video film titles such as Carnal Crimes, Sins of Desire, and Night Eyes. Williams's witty and illuminating readings tell the story of this sensational genre and contribute to the analysis of mainstream screen sex--and its censorship--at the beginning of the 21st century. She shows that as the erotic thriller plays out the sexual fantasies of contemporary America, it also provides a vehicle for marketing those fantasies globally. |
| barbara creed film and psychoanalysis: The Matrix of Visual Culture Patricia Pisters, 2003 This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark. |
| barbara creed film and psychoanalysis: Psychoanalytic Film Theory and The Rules of the Game Todd McGowan, 2015-07-30 Psychoanalytic Film Theory and The Rules of the Game offers a concise introduction to psychoanalytic film theory in jargon-free language and shows how this theory can be deployed to interpret Jean Renoir's classic film-- |
| barbara creed film and psychoanalysis: Darwin's Screens Barbara Creed, 2009-10-23 Darwin's Screens addresses a major gap in film scholarship—the key influence of Charles Darwin's theories on the history of the cinema. Much has been written on the effect of other great thinkers such as Freud and Marx but very little on the important role played by Darwinian ideas on the evolution of the newest art form of the twentieth century. Creed argues that Darwinian ideas influenced the evolution of early film genres such as horror, the detective film, science fiction, film noir and the musical. Her study draws on Darwin's theories of sexual selection, deep time and transformation, and on emotions, death, and the meaning of human and animal in order to rethink some of the canonical arguments of film and cinema studies. |
| barbara creed film and psychoanalysis: Film Genre Reader IV Barry Keith Grant, 2012-12-01 From reviews of the third edition: “Film Genre Reader III lives up to the high expectations set by its predecessors, providing an accessible and relatively comprehensive look at genre studies. The anthology’s consideration of the advantages and challenges of genre studies, as well as its inclusion of various film genres and methodological approaches, presents a pedagogically useful overview.” —Scope Since 1986, Film Genre Reader has been the standard reference and classroom text for the study of genre in film, with more than 25,000 copies sold. Barry Keith Grant has again revised and updated the book to reflect the most recent developments in genre study. This fourth edition adds new essays on genre definition and cycles, action movies, science fiction, and heritage films, along with a comprehensive and updated bibliography. The volume includes more than thirty essays by some of film’s most distinguished critics and scholars of popular cinema, including Charles Ramírez Berg, John G. Cawelti, Celestino Deleyto, David Desser, Thomas Elsaesser, Steve Neale, Thomas Schatz, Paul Schrader, Vivian Sobchack, Janet Staiger, Linda Williams, and Robin Wood. |
| barbara creed film and psychoanalysis: Eavesdropping Lucy Huskinson, Terrie Waddell, 2014-11-27 What can depictions of psychotherapy on screen teach us about ourselves? In Eavesdropping, a selection of contributions from internationally-based film consultants, practicing psychotherapists and interdisciplinary scholars investigate the curious dynamics that occur when films and television programmes attempt to portray the psychotherapist, and the complexities of psychotherapy, for popular audiences. The book evaluates the potential mismatch between the onscreen psychotherapist, whose raison d’être is to entertain and engage global audiences, and the professional, real-life counterpart, who becomes intimately involved with the dramas of their patients. While several contributors conclude that actual psychotherapy, and the way psychotherapists and their clients grapple with notions of fantasy and reality, would make a rather poor show, Eavesdropping demonstrates the importance of psychotherapy and psychotherapists on-screen in assisting us to wrestle with the discomfort – and humour - of our lives. Offering a unique insight into perceptions of psychotherapy, Eavesdropping will be essential and insightful reading for analytical psychologists, psychoanalysts, academics and students of depth psychology, film and television studies, media studies and literature, as well as filmmakers. |
| barbara creed film and psychoanalysis: Psychoanalysis and Cinema Vicky Lebeau, 2001 Lebeau examines the long and uneven history of developments in modern art, science, and technology that brought pychoanalysis and the cinema together towards the end of the nineteenth century. She explores the subsequent encounters between the two: the seductions of psychoanalysis and cinema as converging, though distinct, ways of talking about dream and desire, image and illusion, shock, and sexuality. Beginning with Freud's encounter with the spectacle of hysteria on display in fin-de-siecle Paris, this study offers a detailed reading of the texts and concepts which generated the field of psychoanalytic film theory. |
| barbara creed film and psychoanalysis: Women, Monstrosity and Horror Film Erin Harrington, 2017-08-10 Women occupy a privileged place in horror film. Horror is a space of entertainment and excitement, of terror and dread, and one that relishes the complexities that arise when boundaries – of taste, of bodies, of reason – are blurred and dismantled. It is also a site of expression and exploration that leverages the narrative and aesthetic horrors of the reproductive, the maternal and the sexual to expose the underpinnings of the social, political and philosophical othering of women. This book offers an in-depth analysis of women in horror films through an exploration of ‘gynaehorror’: films concerned with all aspects of female reproductive horror, from reproductive and sexual organs, to virginity, pregnancy, birth, motherhood and finally to menopause. Some of the themes explored include: the intersection of horror, monstrosity and sexual difference; the relationships between normative female (hetero)sexuality and the twin figures of the chaste virgin and the voracious vagina dentata; embodiment and subjectivity in horror films about pregnancy and abortion; reproductive technologies, monstrosity and ‘mad science’; the discursive construction and interrogation of monstrous motherhood; and the relationships between menopause, menstruation, hagsploitation and ‘abject barren’ bodies in horror. The book not only offers a feminist interrogation of gynaehorror, but also a counter-reading of the gynaehorrific, that both accounts for and opens up new spaces of productive, radical and subversive monstrosity within a mode of representation and expression that has often been accused of being misogynistic. It therefore makes a unique contribution to the study of women in horror film specifically, while also providing new insights in the broader area of popular culture, gender and film philosophy. |
| barbara creed film and psychoanalysis: Attack of the Leading Ladies John Belton, Rhona J. Berenstein, 1996 Looking at such films as Frankenstein, Svengali, King Kong and The Mark of the Vampire, Berenstein argues that classical horror cinema is marked by malleable gender roles, not by entrenched conventional personas. |
| barbara creed film and psychoanalysis: The Undying Mudrooroo, 2018-09-01 A daring and thrilling journey into a fantastical world of shamans, vampires and werebears where aboriginal Dreaming and Gothic horror are woven together to create a powerful and seamless narrative. I, the stranger with strange habits which make me avoid the full light of day, enter into the warm circle of your fire and will exchange my yarn for your company... The stranger, George, tells a story of wonder and horror. Jangamuttuk, his father and Master of the Ghost Dreaming, is a shaman with ceremonies to send the white ghosts back to their own world. But the ghosts keep coming, settling on the land and destroying the local people. Initiated into the Dreaming, George learns the secret of transforming into his animal companion, Dingo, and discovers the thrill of the hunt. But he is not alone in his lust for blood. Amelia, the white woman, shares his appetite, feeding on humans and animals alike to maintain her terrible power. Moving into the white settlement, she creates a psychic barrier around it to protect herself and her slaves. The aboriginal people must draw on every resource, both physical and psychic, to overcome this threat to their existence. ABOUT MUDROOROO'S MASTER OF THE GHOST DREAMING:'A real page-turner. The prose is lyrical, yet simple, the images real and ironic... an exciting, moving and engaging novel.' - SOPHIE MASSON, AUSTRALIAN BOOK REVIEW 'A most original contribution to Australian literary style... probably the first instinctively Australian magical-realist novel.' - ROD MORAN, WEST AUSTRALIAN |
| barbara creed film and psychoanalysis: Cinesexuality Patricia MacCormack, 2016-05-23 Cinesexuality explores the queerness of cinema spectatorship, arguing that cinema spectatorship represents a unique encounter of desire, pleasure and perversion beyond dialectics of subject/object and image/meaning; an extraordinary 'cinesexual' relationship, that encompasses each event of cinema spectatorship in excess of gender, hetero- or homosexuality, encouraging all spectators to challenge traditional notions of what elicits pleasure and constitutes desiring subjectivity. Through a variety of cinematic examples, including abstract film, extreme films and films which present perverse sexuality and corporeal reconfiguration, Cinesexuality encourages a radical shift to spectatorship as itself inherently queer beyond what is watched and who watches. Film as its own form of philosophy invokes spectatorship thought as an ethics of desire. Original, exciting and theoretically sophisticated - focusing on continental philosophy, particularly Guattari, Deleuze, Blanchot, Foucault, Lyotard, Irigaray and Serres - the book will be of interest to scholars and students of queer, gender and feminist studies, film and aesthetics theory, cultural studies, media and communication, post-structural theory and contemporary philosophical thought. |
| barbara creed film and psychoanalysis: Media Matrix Barbara Creed, 2003 From Sex and the City to discussions of sexuality and the self, Breillat's film Romance to Harlequin romances, crisis TV to cyberporn, celebrity to censorship, Barbara Creed explores the effect of today's global media on contemporary ideas and experiences of sex, screen, identity and representation. From the author of The Monstrous Feminine. |
| barbara creed film and psychoanalysis: Lewd Looks Elena Gorfinkel, 2017 Introduction: Coy leericism--Producing permissiveness: censorship, obscenity law, and the trials of spectatorship -- Peek snatchers: corporeal spectacle and the wages of looking, 1960/1965 -- Girls with hungry eyes: consuming sensation, figuring female lust, 1965/1970 -- Watching an audience of voyeurs: adult film reception -- Conclusion: Skin flicks without a future? |
| barbara creed film and psychoanalysis: Hitchcock's Films Robin Wood, 1969 |
| barbara creed film and psychoanalysis: Evolution and Popular Narrative , 2019-06-07 The contributors to this volume share the assumption that popular narrative, when viewed with an evolutionary lens, offers an incisive index into human nature. In theory, narrative art could take a near infinity of possible forms. In actual practice, however, particular motifs, plot patterns, stereotypical figures, and artistic devices persistently resurface, indicating specific predilections frequently at odds with our actual living conditions. Our studies explore various media and genres to gauge the impact of our evolutionary inheritance, in interdependence with the respective cultural environments, on our aesthetic appreciation. As they suggest, research into mass culture is not only indispensable for evolutionary criticism but may also contribute to our understanding of prehistoric selection pressures that still influence modern preferences in popular narrative. Contributions by David Andrews, James Carney, Mathias Clasen, Brett Cooke, Tamás Dávid-Barrett, Tom Dolack, Kathryn Duncan, Isabel Behncke Izquierdo, Joe Keener, Alex C. Parrish, Todd K. Platts, Anna Rotkirch, Judith P. Saunders, Michelle Scalise Sugiyama, Dirk Vanderbeke, and Sophia Wege. |
| barbara creed film and psychoanalysis: Media and Violence Karen Boyle, 2005-01-01 Media and Violence pays equal attention to the production, content and reception involved in any representation of violence. This book offers a framework for understanding how violence is represented and consumed. It examines the relationship of media, gender, and real-world violence; representations of violence in screen entertainment; the effects of violent media on consumers; the ethics and gender politics of the production processes of screen violence; and the discussions are illustrated with topical and well-known examples, enabling the reader to critically engage with the debates. |
| barbara creed film and psychoanalysis: Cinematernity Lucy Fischer, 2014 Cover -- Contents -- Acknowledgments |
| barbara creed film and psychoanalysis: The Woman's Encyclopedia of Myths and Secrets Barbara G. Walker, 1995 A feminist encyclopaedia focusing on mythology, anthropology, religion and sexuality. Discover where the legend of a cat's nine lives comes from, why mama is a word understood in nearly all languages and whether there really was a female Pope. |
| barbara creed film and psychoanalysis: Representations of Femininity in American Genre Cinema David Greven, 2011-04-25 The theme of female transformation informs the Hollywood representation of femininity from the studio era to the present. Whether it occurs physically, emotionally, or on some other level, transformation allows female protagonists to negotiate their own complex desires and to resist the compulsory marriage plot. A sweeping study of Hollywood from Now, Voyager, The Heiress, and Flamingo Road to Carrie, the Alien films, The Brave One, and the slasher horror genre, this book boldly unsettles commonplace understandings of genre film, female sexuality, and Freudian theory as it makes a strong new case for the queer relevance of female representation. |
| barbara creed film and psychoanalysis: Recreational Terror Isabel Cristina Pinedo, 2016-02-24 In Recreational Terror, Isabel Cristina Pinedo analyzes how the contemporary horror film produces recreational terror as a pleasurable encounter with violence and danger for female spectators. She challenges the conventional wisdom that violent horror films can only degrade women and incite violence, and contends instead that the contemporary horror film speaks to the cultural need to express rage and terror in the midst of social upheaval. |
| barbara creed film and psychoanalysis: Men, Women, and Chain Saws Carol J. Clover, 2015-05-26 From its first publication in 1992, Men, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mid-1970s. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented—notably the slasher movie's final girls—as they endure fear and degradation before rising to save themselves. The lesson was not lost on the mainstream industry, which was soon turning out the formula in well-made thrillers. Including a new preface by the author, this Princeton Classics edition is a definitive work that has found an avid readership from students of film theory to major Hollywood filmmakers. |
| barbara creed film and psychoanalysis: Framing Monsters Joshua David Bellin, 2005 Beginning with celebrated classics, the author locates King Kong (1933) within the era of lynching to evince how the film protects whiteness against supposed aggressions of a black predator and reviews The Wizard of Oz (1939) as a product of the Depression's economic anxieties. From there, the study moves to the cult classic animated Sinbad Trilogy (1958-1977) of Ray Harryhausen, films rampant with xenophobic fears of the Middle East as relevant today as when the series was originally produced. Advancing to more recent subjects, the author focuses on the image of the monstrous woman and the threat of reproductive freedom found in Aliens (1986), Jurassic Park (1993), and Species (1995) and on depictions of the mentally ill as dangerous deviants in 12 Monkeys (1996) and The Cell (2000). An investigation into physical freakishness guides his approach to Edward Scissorhands (1990) and Beauty and the Beast (1991). |
| barbara creed film and psychoanalysis: The Acoustic Mirror Kaja Silverman, 1988-04-22 ... a vitally new understanding that takes us from the terms of the representation of sexual difference to an anatomy of female subjectivity which will be widely influential. -- Stephen Heath An original work likely to have significant impact on all those with an interest in the vibrant intersection of feminism, film theory, and psychoanalysis... -- Naomi Schor ... powerfully argued study... impressive... -- Choice ... important because of its innovative work on Hollywood's ideologically-charged construction of subjectivity.... what is exciting about The Acoustic Mirror is that it inspires one to reevaluate a number of now classical theoretical texts, and to see films with an eye to how authorship is constructed and subjectivity is generated. -- Literature and Psychology As evocative as it is shrewdly systematic, the pioneering theory of female subjectivity formulated in the final three chapters will have wide impact as a major contribution to feminist theory. -- SubStance The Acoustic Mirror attempts to do for the sound-track what feminist film theory of the past decade has done for the image-track -- to locate the points at which it is productive of sexual difference. The specific focus is the female voice understood not merely as spoken dialogue, narration, and commentary, but as a fantasmatic projection, and as a metaphor for authorship. |
| barbara creed film and psychoanalysis: Women Make Horror Alison Peirse, 2020-09-17 Winner of the the 2021 Best Edited Collection Award from BAFTSS Winner of the 2021 British Fantasy Award in Best Non-Fiction Finalist for the 2020 Bram Stoker Award® for Superior Achievement in Non-Fiction Runner-Up for Book of the Year in the 19th Annual Rondo Halton Classic Horror Awards “But women were never out there making horror films, that’s why they are not written about – you can’t include what doesn’t exist.” “Women are just not that interested in making horror films.” This is what you get when you are a woman working in horror, whether as a writer, academic, festival programmer, or filmmaker. These assumptions are based on decades of flawed scholarly, critical, and industrial thinking about the genre. Women Make Horror sets right these misconceptions. Women have always made horror. They have always been an audience for the genre, and today, as this book reveals, women academics, critics, and filmmakers alike remain committed to a film genre that offers almost unlimited opportunities for exploring and deconstructing social and cultural constructions of gender, femininity, sexuality, and the body. Women Make Horror explores narrative and experimental cinema; short, anthology, and feature filmmaking; and offers case studies of North American, Latin American, European, East Asian, and Australian filmmakers, films, and festivals. With this book we can transform how we think about women filmmakers and genre. |
| barbara creed film and psychoanalysis: The Audible Past Jonathan Sterne, 2003-03-13 Table of contents |
Barbara (given name) - Wikipedia
Barbara is a given name used in numerous languages. It is the feminine form of the Greek word barbaros (Greek: βάρβαρος) meaning "stranger" or "foreign". [1] In Roman Catholic and …
'Barbara Chose Her Career': Oprah Winfrey Says Watching Barbara …
11 hours ago · Now, in a candid moment captured for the new documentary about legendary journalist Barbara Walters, the 71-year-old powerhouse opened up about how witnessing her …
Barbara - Baby Name Meaning, Origin, and Popularity
5 days ago · Barbara Origin and Meaning The name Barbara is a girl's name of Latin origin meaning "foreign woman". Barbara is back! Among the fastest-rising names of 2023, Barbara …
Meaning, origin and history of the name Barbara
Dec 1, 2024 · Derived from Greek βάρβαρος (barbaros) meaning "foreign, non-Greek". According to legend, Saint Barbara was a young woman killed by her father Dioscorus, who was then …
Barbara Name Meaning, Origin, History, And Popularity
May 7, 2024 · Barbara is a popular name derived from the feminine form of the Greek word ‘barbaros’, which means ‘stranger’ or ‘foreign.’ The term ‘barbaros’ was initially used by …
Barbara Name Meaning, Origin, Popularity, Girl Names Like Barbara ...
What is the meaning of the name Barbara? Discover the origin, popularity, Barbara name meaning, and names related to Barbara with Mama Natural’s fantastic baby names guide.
Barbara - Meaning of Barbara, What does Barbara mean? - BabyNamesPedia
Barbara is of Latin origin, and it is used mainly in the English, French, German, Hungarian, Italian, Polish, Slavic, and Spanish languages. The name is of the meaning 'foreign woman'.
Barbara: Name, Meaning, and Origin - FirstCry Parenting
Jan 8, 2025 · Barbara: A classic name of Greek origin, meaning "foreign" or "stranger." Timeless and elegant, it carries a strong historical and cultural significance.
Barbara - Name Meaning and Origin
The name Barbara is of Greek origin and means "foreign" or "stranger." It is derived from the word "barbaros," which was used by the ancient Greeks to refer to people who did not speak Greek.
Barbara - Name Meaning, What does Barbara mean? - Think Baby Names
Barbara as a girls' name is pronounced BAR-bra. It is of Latin origin, and the meaning of Barbara is "foreign woman". The adjective was originally applied to anyone who did not speak Greek; it …
Barbara (given name) - Wikipedia
Barbara is a given name used in numerous languages. It is the feminine form of the Greek word barbaros (Greek: βάρβαρος) meaning "stranger" or "foreign". [1] In Roman Catholic and …
'Barbara Chose Her Career': Oprah Winfrey Says Watching Barbara …
11 hours ago · Now, in a candid moment captured for the new documentary about legendary journalist Barbara Walters, the 71-year-old powerhouse opened up about how witnessing her …
Barbara - Baby Name Meaning, Origin, and Popularity
5 days ago · Barbara Origin and Meaning The name Barbara is a girl's name of Latin origin meaning "foreign woman". Barbara is back! Among the fastest-rising names of 2023, Barbara …
Meaning, origin and history of the name Barbara
Dec 1, 2024 · Derived from Greek βάρβαρος (barbaros) meaning "foreign, non-Greek". According to legend, Saint Barbara was a young woman killed by her father Dioscorus, who was then …
Barbara Name Meaning, Origin, History, And Popularity
May 7, 2024 · Barbara is a popular name derived from the feminine form of the Greek word ‘barbaros’, which means ‘stranger’ or ‘foreign.’ The term ‘barbaros’ was initially used by Greeks …
Barbara Name Meaning, Origin, Popularity, Girl Names Like Barbara ...
What is the meaning of the name Barbara? Discover the origin, popularity, Barbara name meaning, and names related to Barbara with Mama Natural’s fantastic baby names guide.
Barbara - Meaning of Barbara, What does Barbara mean? - BabyNamesPedia
Barbara is of Latin origin, and it is used mainly in the English, French, German, Hungarian, Italian, Polish, Slavic, and Spanish languages. The name is of the meaning 'foreign woman'.
Barbara: Name, Meaning, and Origin - FirstCry Parenting
Jan 8, 2025 · Barbara: A classic name of Greek origin, meaning "foreign" or "stranger." Timeless and elegant, it carries a strong historical and cultural significance.
Barbara - Name Meaning and Origin
The name Barbara is of Greek origin and means "foreign" or "stranger." It is derived from the word "barbaros," which was used by the ancient Greeks to refer to people who did not speak Greek.
Barbara - Name Meaning, What does Barbara mean? - Think Baby Names
Barbara as a girls' name is pronounced BAR-bra. It is of Latin origin, and the meaning of Barbara is "foreign woman". The adjective was originally applied to anyone who did not speak Greek; it …
