The process of researching the theories shined light onto the topic and the approach to the figuration of women-as-monster. Female monstrosity in the horror film is nearly always depicted with in the relation to mothering and reproductive function. In her second category of abjection, Creed includes bodily wastes such as ‘shit, blood, urine, pus, fat’,Īs well as dead bodies, which are ‘the ultimate in abjection’.įinally, Creed’s third class of the abject is the maternal. As such boundariesĬan be seen, for example, the border between human and non-human natural and supernatural normalĪnd abnormal gender behaviors and sexual desire the clean, proper, well formed, and the dirty or The monster in this case is what ‘crosses or threatens to cross the “border”’. The first aspect of abjection in the horror film lies in the collapsing of boundaries or boundary ambiguities. She explores the horror film’s figurations of women-as-monster, building on Kristeva’s notion of the 'abject'. The paper stems from the notion of the monstrous feminineĭescribed in the Barbara Creed’s psychoanalytic study of the horror film in her book the Monstrous-Feminine. My final thesis started with the theoretical investigation on gender issues in the construction of the female monstrosity (mostly in movies). Use the study effectively, using design as the vehicle through which you present your findings. The main task of the final thesis is to define the area of interest, investigate it, conduct research and This thesis work created during BA Integrated Design program at the Cologne International School of Design, summer 2014.
Typographical investigation on the women-as-monster construction.
Cologne International School of Design, summer 2014
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