![]() ![]() Moreover, since my analysis hinges on the dual representation of woman, utilizing films that contrast the “monstrous” or “threatening” woman with images of more traditional femininity (according to patriarchal society), this analysis explores how this traditional, “threatened” vision of femininity is constructed within each film. ![]() The methodological approach to my thesis rests on analyzing each of the films separately, uncovering the ways in which their individual narrative, visual, and auditory components align with visions of the “monstrous feminine” and woman-as- “Other” or “abject” described in The Monstrous Feminine. However, my analysis of these films deviates slightly from Creed’s study of the “monstrous feminine” – whereas Creed examines the representation of singular female characters in horror films, I am exploring the dual representation of women in the horror genre, namely in psychological horror films. ![]() Namely, as an extension of Barbara Creed’s extensive research of the horror genre in works including The Monstrous Feminine: Film, Feminism, and Psychoanalysis (1993), my analysis locates the concept of the “monstrous feminine” in three distinct, yet interconnected films: Whatever Happened to Baby Jane? (1962), Carrie (1976), and Single White Female (1992). “Dual Images of the ‘Monstrous Feminine’ in Three Horror Films” centers on the women in mainstream, psychological horror films. ![]()
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