F EM EM TN TN IS IS T F RA RA ME ME WO WO RK RK S
C Y N TH TH I M IN IN I
A.
H O R RO RO R
OR
LM
Th hori horizo zo fo femi femini nist st stud studyi ying ng horr horror or film film appe appear ar blea bleak. k. Sinc Sinc Psycho's infamous mous show shower er scen scene, e, th bi scre screen en ha trea treate te us to Fred Freddi die' e' long long razo razorr-na nail il emer emerggi n b et et we we e N an an cy cy ' l eg eg s i n t h b at at ht ht u (A Nightm Nightmare are on Elm Stre Street et I) De Palm Palma' a' exhi exhibi biti tion onis is hero heroin in bein bein powe powerr-dr dril ille le into into th floo floo (Bod Double) Double) and Leathe Leatherrf ac ac e h an an gi gi n w o e n f ro ro m e a h o k s (The (The Texa Texa Chai Chai Sa Mass Massac acre re). ). it l i Alien, em is li ed stro strous usne ness ss of th alie alie moth mother er th obje object ctif ific icat atio io of Sigo Sigour urne ne Weav Weaver er in he unde underrwear wear an he char charac acte te Ripl Ripley ey's 's forc forced ed assu assump mpti tion on of mate matern rnal al role role D es es pi pi t a l t hi hi s t he he r h a b ee ee n o m f e i ni ni s o r o n h or or ro ro r a n b el el ie ie v
H OR OR RO RO R F IL IL M
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d e c ri ri be be d a s c as as tr tr at at e o r a s r ep ep re re se se nt nt in in g t hr hr ea ea t e vo vo ki ki n a l c as as tr tr at at io io n a nx nx ie ie ty ty . T he he s t he he or or ie ie s a l s ta ta nd nd ar ar dl dl y p re re su su m s o c on on ne ne ct ct i b et et we we e g az az in in g v io io le le n aggr aggres essi sion on an masc mascul ulin init ity, y, an they they sugg sugges es that that ther ther ar part partic icul ular arly ly "mal "male" e" muti muti vati vation on fo maki making ng watc watchi hing ng an enjo enjoyi ying ng horr horror or film films. s. e mi mi ni ni s p sy sy ch ch od od yn yn a i c a pp pp ro ro ac ac he he s t o f ilil m i n g en en er er a w er er e l au au nc nc he he d b y a ur ur a M ul ul ve ve y i nf nf lu lu en en titi a e s a y " Vi Vi su su a l ea ea su su r a n a rr rr at at iv iv e C in in e a " ( 19 19 75 75 ). ). 1 u l vey' vey' mode mode pres presup uppo pose se Laca Lacani nian an psyc psycho hoan anal alyt ytic ic pers perspe pect ctiv iv an draw draw upon upon ke Laca Lacani nian an conc concep epti tion on of cast castra rati tion on anxi anxiet et an visu visual al feti fetish shis ism, m, an th asso associ ciat atio io o f t h L a o f t h a th th er er " o r p at at ri ri ar ar ch ch y w itit h s uc uc h t ra ra di di ti ti on on a f ilil m f ea ea tu tu re re s a s n ar ar ra ra tive tive orde order. r. Mulv Mulvey ey argu argued ed that that narr narrat ativ iv form form char charac acte teri rist stic ic of main mainst stre ream am Holl Hollyy-
R E E LA LA N
R AM AM E W O R K
FO
t he he r
domi domina nant nt psyc psycho hody dyna nami mi femi femini nist st appr approa oach ches es tohorro tohorror. r. In th seco second nd part part prop propos os an alte altern rnat ativ iv fram framew ewor or fo cons constr truc ucti ting ng femi femini nist st inte interp rpre reta tati tion on of horr horror or film film by crit critic ical ally ly inte interr rrog ogat atin in thei thei gend gender er ideo ideolo logi gies es My prop propos osal al focu focuse se less less on th psypsyc ho ho lo lo g o f v ie ie we we r t ha ha n o n t h n at at ur ur e o f f ilil m a s a rt rt if if ac ac t w itit h p ar ar titi cu cu la la r t ru ru ct ct ur ur e an func functi tion ons. s. In th thir thir part part illu illust stra rate te my reco recomm mmen ende de fram framew ewor or by sket sketch chin in read readin ings gs of Jura Jurass ssic ic Park Park (Spi (Spielb elber er 1993 1993), ), The Fl (Cro (Crone nenb nber er 1986 1986), ), an Repulsion (Pol (Polans anski ki 1965 1965). ).
PART PART I: PSYC PSYCHO HOAN ANAL ALYT YTIC IC FEMI FEMINI NIST ST APPR APPROA OACH CHES ES TO HORR HORROR OR Most Most curr curren en femi femini nist st stud studie ie of horr horror or film film ar psyc psycho hody dyna nami mic. c. That That is thou though gh t he he y a y c on on si si de de r f ilil m a s a rt rt if if ac ac ts ts , r ec ec og og ni ni zi zi n s uc uc h a sp sp ec ec t a s p lo lo t ~ ar ar ra ra ti ti ve ve , o r
b et et we we e t h w o a n a n t h s cr cr ee ee n ( th th e o bj bj ec ec t o f t h l oo oo k) k) , a n b et et we we e t h an an t h v ie ie we we r ( th th e p os os se se s o r o f t h l oo oo k) k) . t en en si si o a ri ri se se s i n t h v ie ie we we r b et et we we e l ib ib id id o an eg need needs, s, an this this tens tensio io is reso resolv lved ed by proc proces es of iden identi tifi fica cati tion on wher whereb eb th [mal [male] e] view viewer er iden identi tifi fies es with with th [mal [male] e] prot protag agon onis is in th film film Thus Thus poss posses essi sing ng th ch te e we we r a n en achie achievi ving ng satis satisfac facto tory ry narra narrati tive ve reso resolu lutio tion. n. Mulv Mulvey ey's 's view view ha come come in fo numb number er of pers persua uasi sive ve crit critic icis isms ms byother byother femi femini nist st f ilil m t he he or or is is ts ts , a n h e h a e ve ve n r ev ev is is e i t herself.' Neve Neverth rthel eles ess, s, it will will be instru instruct ctive ive t o b eg eg i b y e xt xt ra ra po po la la titi n f ro ro m h e b as as i o de de l s o a s t o g en en er er at at e s i p l f em em in in is is t psyc psycho hoan anal alyt ytic ic acco accoun un of horr horror or as foll follow ows: s: Th tens tensio io betw betwee ee th view viewer er's 's desi desire re t o l oo oo k a n t h o ng ng oi oi n n ar ar ra ra titi v o f f il il m i s e sp sp ec ec ia ia ll ll y a cu cu t i n t h h or or ro ro r f ilil m T yp yp i ca ca ll ll y i n h or or ro ro r t h w o a n o r v is is ua ua l O bj bj ec ec t i s a l t h c hi hi e v ic ic titi m s ac ac ri ri fi fi ce ce d t o t h n ar ar ra ra ti ti v d es es ir ir e t o k no no w a bo bo u t h o ns ns te te r H or or ro ro r f li li rt rt s d ir ir ec ec tltl y w itit h t h t hr hr ea ea t o f c a t ra ra titi o u nd nd er er ly ly in in g t h f et et i o r v is is ua ua l a pp pp ea ea ra ra nc nc e o f t h w o a n a n t hi hi s e an an s that that look lookin in (vis (visua ua plea pleasu sure re is even even more more imme immedi diat atel el at odds odds with with narr narrat ativ iv inhor r o f il il m t ha ha n i n o th th e a in in st st re re a H ol ol ly ly wo wo o o vi vi es es . h e w o a n f le le sh sh , t h r ea ea l ity behin behin th surf surfac ac appe appeara aranc nce, e, is made made visi visibl ble, e, an horr horror or show show th "wou "wound nd that that w e a r r ev ev ol ol te te d t o l oo oo k u po po n a k u p f o t hi hi s h or or ro ro r t hi hi s a cc cc ou ou n c on on titi nu nu es es , t h view viewer er must must tu atte attent ntio io to th narr narrat ativ iv thru thrust st of th inve invest stig igat ator or typi typica call ll male male h o w ilil l c o p le le t t h s to to r f o u s
I ~a ~a ur ur a M ul ul ve ve y " Vi Vi su su a P le le as as ur ur e a n N ar ar ra ra titi v C in in em em a, a, " o ri ri gi gi na na llll y p ub ub lili sh sh e i n Screen 16 (1975) (1975) repri reprint nted ed in Mulv Mulvey ey Visual (Bloom omin ingt gton on Indi Indian an Univ Univer ersi sity ty Press Press 1990 1990); ); my page page Visual and Other Other Pleasu Pleasures res (Blo refe refere renc nces es ar to th repi repint nted ed vers versio io in!s Patrici ci Eren Eren (Blo (Bloom omin inggin!ssu sue5 e5 in Femi Femini nist st Film Film Crit Critic icis ism, m, ed Patri ton Indi Indian an Univ Univer ersi sity ty Pres Press. s. 1990 1990), ), pr. 28-40. 2Fem 2Femi~i i~ist st crit critic ic have have argu argued ed agai agains ns Mulv Mulvey ey on vario various us grou ground nds. s. parti particu cula larly rly that that she. she.ig igno nore re th soci social al an hist histor oric ical al cond condit ition ion of gend gender ered ed subj subjec ects ts an over oversi simp mplif lifie ie th role role of th view viewer er/d /dire irect ctor or/c /cam amer er (s t ha ha t f o e xa xa mp mp le le , s ub ub tltl e v ie ie w m a b e n ec ec es es sa sa r t o a cc cc ou ou n f o t h a mb mb iv iv al al en en c o f c er er ta ta i f il il m d ir ir ec ec to to r l ik ik e H it it ch ch co co ck ck ) S ee ee . f o e xa xa mp mp le le , M ar ar y A n D oa oa ne ne , " Fi Fi l a n t h M as as qu qu er er ad ad e T he he or or iz iz in in g t h F em em al al e Specta Spectator tor," ," in Issues 41-57; 7; Jane Jane Gain Gaines es "Wome "Wome an Repr Repres esen enta tatio tion: n: Ca Issues in Femini Feminist st Fil Critic Criticism ism pp 41-5 W e E nj nj o A lt lt er er na na titi v P le le as as ur ur e? e? " a ls ls o i n Issues 7 55 92 9 2 ; M ar a r ia i a n K ea e a ne n e , "A pp. Issues in Femini Feminist st Fil Critic Criticism ism C lo lo se se r L oo oo k a t S co co ph ph ilil ia ia : M ul ul ve ve y H it it ch ch co co ck ck , a n V er er ti ti go go , i n The Hitchc Marsha hall ll DenDenHitchcock ock Reader Reader ed Mars t el el ba ba n a n L el el an an d P oa oa gu gu e ( Am Am es es : i ow ow a S ta ta t U ni ni ve ve rs rs itit y P re re ss ss , 1 98 98 6) 6) . p p 2 31 31 -2 -2 48 48 ; a n N ao ao m S ch ch e man, man, "Mis "Missi sing ng Moth Mother ers/ s/De Desi sirin rin Daug Daught hter ers: s: Fram Framin in th Sigh Sigh of Wome Women, n, Critical (Autum Critical Inquiry Inquiry 15 (Autum
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Fo example, in Psycho, we like Jane Leigh, se th vagu blurre in
h ap e o f t h a tt ac ke r b eh in d t h
s ho we r c u t ai n
an threaten
u t a ft e t hi ~ c ~n tr al .
u rd e
w o a n h er se l c a n o l on ge r s ee , a n h e b ea ut i u l b od y l o g e b e l oo ke d u po n we viewer ar forced to procee beyond he vision An once ou identification with t h w o a n/ vi ct i h a e e d i r up te d i t s hi ft s t o t h a l i nv es ti ga to r ho il o lv e t h c ri m a n i de nt if y t h r de re r a n u lt i a te l t o t h a l p sy ch ia tr is t who, in th film's words, "has al th answers. modified versio of th simple Mulveyan schema have just sketched is offere by Lind Williams wh scrutinize on of th more vulnerable aspect of Mu~vey's theory he straitjacketed associatio betwee male an th pleasure ?f looking. or spectatorship. Williams points ou that ofte in horror contrary to mainstream em e rn a o me n o s e s t h g az e. " h a i s t he y a r t yp ic al l t h f ir s t o e t t o e e inquir about, an know th monster. Similarly, although monsters ma tJ;rreat~nth bodies of wome inhorror, even so th fate ofwomen an monsters ar ofte linked stories, fo example, wher fascinatin foreig Dracul seduce wome away from their husbands an fathers, underminin th patriarchal institutions of law, marriage, o th er ho o e di ci ne , a n r el ig io n. ) D e p it e t he s o b e rv at i n s a b u t t h s h r t coming of Mulveyan account, Williams's accoun remain consistent in it outlines w it h t h s o o f u lv ey a v ie w have just sketched Williams argues that wome wh posses th gaze in horror an wh become aligne with monsters ar typicall show themselves to represen threat to patriarchy an henc to requir punishment In th en i ll ia m e em s t o a cc ep t t h b a i c i de a t ha t h or ro r f il m r ei nf or c c on ceptions of th active (sadistic) male viewer an th passiv (suffering female obj~ct o me n a r p un i h e f o t he i a pp r p ri at io n o f " th e g az e a n o r o f a sc uh n narrativ orde (wha Laca woul call th La of th Father is restored o r r ec en tl y f e i ni s f il m t he or is t h av e t ur ne d t o t h w or k o f o n o f a ca n successors th French feminist psychoanalys Juli Kristeva Kristeva's book Powe r o f H or ro r A n E ss a A bj ec ti o it ie h av e b ee n a da pt e t o t h s tu d o f v is ua l o rr o b y B ar ba r C re ed , Screen article abou Alien, in ec The Monstrous-Feminine: Film Feminism, Psychoanalysis. Kristcva locate th source an origin of horror io et t' e nc e toward th mother as it struggle to create boundaries an forg it ow eg identity Th mother is "horrific" in th sens of bein all-engulfing, primitive, an impure or defile by bodily ffuids-c-particularly breast milk an flowin menstrua blood. Kri~ t ev a u se s t h t er m a bj ec ti on " t o e si gn at e t h s yc hi c c o d it io n i n p ir e b y t hi s i ma g o f t h h or ri fi c o th er . F o r is te va , h or ro r i s f un da me nt al l ab ut bo nd 3 Li nd a W il li am s " Wh e t h W om a L oo ks , i n Re Vision: Essays in Feminist Film Criticism ed. Mar A n D oa ne , P at ri ci ~ M el le nc ar np , a n L in d W il li am s ( Am er ic a F il m I ns ti tu te , 1 98 4) , p p 8 3- 99 , a n "Fil Bodies Gender Genre, an Excess." Fil Quarterly 4 ( : 2
em
asizes th dualit
FO
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t ra n an ab th ed of ou attraction/repulsion to th horrific
In applying this theory to Alien.
enanos u~~rou versIOns t h e ng ul fi ng , t hr ea te ni ng , v o a ci o s , h or ri fi c l ie n o th er , t ': ?t he d v ag in a t ? o n t ro us -f e i ni n a s t h c an ni ba li st i o th er . C .r ee d a ls o o tt er s a n e x l an at io n o f w h i n t h f in a c en e o fAlien ( no to ri o ' l SIgourne Weaver undresse before th camera stroll around in he thin unders~frt ~n~ eve?tuall ~eturn to he sleeping po with th smal orange ca sh ha rescued; Ripley body ISpleasurable an reassuring to look at Sh signifie th 'acceptable' form an shap of woman. Cree depart in cert~i importan respects from th simplistic Mulveyan mode k et c e d h e e mp ha SI ze s c on tr a t h u lv ey an - a ca ni a o si ti on , t ha t h Ol To r I mp o t an tl y c on ce rn s n o j u o me n a s v ic ti ms -w o e n w h a r a tt ac ke d e ca u t he y p re se n h or ri fi c i si o o f c as tr at e b od y b u a ls o o n t ro u o me n w h ~reate
to castrate men. "Virtuall al horror text represen th monstrous-feminine t o r i t ev a' s n ot io n o f a te r a l a ut h r it y a n t h ap in of th el 's ~lea an proper body.' More specifically Cree thinks that horror text al Serv to I ll u~ tr at ~ t h o r o f . ab je ct io n. " he i n t hr e b a i c a y F ir st , o rr o depict I~ages of abjection, such as corpse an bodily wastes second horror iscon ce.rne WIthborders with things that threaten th stabilit of th symbolic order; an third, horror constructs th maternal figure as abject In r el at i
as l ve y Lacama ~n Creed~Krlsteva~ frameworks fo feminist film theory buil upon psychoanalytl foun~a.tlOn.Despite al th detail of thei differen pictures each view construe th familIar of horror in term of an opposition betwee "female" an "male" aspects. ",:her thes ar understood or define within th term of dept ~s.ychology. There IS II othe words, tensio betwee spectacl or th horrific fern mm (associated with th castrate woman, preoedipal mother or castrating woman) and.plo or narrativ resolution (associate with th patriarcha orde that th chil achieves ~fte~resolving th ~edipa complex) In broade ways that go beyond psychoanalysls, al thes theories (Mulvey's , Creed's , an Williams's th focu is also PSYChodynamic-that is ther is.som presumed genera or universa Psycholog~cal ~ eo r t ha t ~ ou n t he i a na lY SI S. ! o b ac k u p p ec ul at io n o f t hi s s or t r ee d f o ~ample begins he book by appealin to both universa cultural practice an clas ~Ica myt~ology. Psychodynami feminist theorist speculat abou wh "we" ar l~terested h?rror an more basicall abou wh certai things ar horrifying Thes ~nd~ of questI~n ar seen to requir an answer within psychologieaLtbeory, whic se al t h c hi e c on ce r e ve n h e t h t he or is t p ea k a bo u h o t o " in te rp re r llc.hfilms or abou what ~ariou aspect of thes film "represent." Th "deep" explaations offere ar (putative) psychologIca explanations Fo instance here is Cree on The Exorcist: Regan'
appea
display body reminds us qUI'( cea a bj ec t H or ro r e me rg e f ro m t h f ac t t h a Woman has
camiva1e.~ttue
th
Immense
746
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f em in in e r ol e- s- sh e h a " ma d s pe ct ac l o f h er se lf 'v =p u h e u ns oc ia li ze d b od y o n d is p la y A n t o m ak e m a t er s w or se , s h h a d on e a l o f t hi s b ef or e t h h oc ke d e ye s o f t w mal clerics."
th ti al ac is il al ik ee W il li a a r i gn if ic an tl y c on st ra in e b y t he i p sy ch od yn a i c f ra mi ng , a n particularly (and significantly) by th theoretica apparatu of psychoanalysis
an or here
presen si objections to such approaches First, psychoanalysis is itself very problemati enterprise that is fa from achiev in anything like genera acceptance as psychologica theory Feminist adapting t h v ie w o f a ca n o r r i t ev a d o s o e it he r i n i gn or an c o f o r i nd if fe re nc e t o f or ce fu philosophica critique of psychoanalysis offere by Crews, Griinbaum, Deleuz a n G ua tt ar i a n o th er s. " t te mp t t o d ef en d p sy ch oa na ly si s b y r ec on ce iv in g i t a s h er me ne ut i e xp la na ti o a r a ls o p ro bl em at ic , b ec au s t he y l oo se n t h t he or y f ro m i t c ru ci a u nd er pi nn in g i n c au sa l h yp ot he si zi ng , l ea vi n k e t he se s a bo ut , s ay , a bj ec t p re oe di pa l m ot he rs , c a t ra ti o a nx ie ty , a n s o o n a s a t b e t , h er me ne ut ic a a id s t o r ea di n f il m " te xt s. " u c h er me ne ut ic a a id s h ou l b e t ak e s e i ou sl y o nl y insofa as they produc vali readings Bu typicall in film studies, psychoanalytic i nt er pr et at io n a r a dv an ce d p ri or i r at he r t ha n i n a n o pe n- mi nd e s pi ri t o f t es ti n h o w el l t he y a ct ua ll y w or k h ou g K ri st ev a r ea di n m a s ee m i ll u i na ti n f o Alien, w it h i t a n b ir t s ce na ri o a n t he m o f o ns tr ou s m ot he ri ng , w h s ho ul d b el ie v i n a dv an c t ha t i t w il l o r e qu al l f o a l k in d o f e xa mp le s o f h or ro r b ec au s
w e a r t o u nd er st an d i n a dv an c t ha t a l t h v ar ie ti e o f h or ri fi c o ns tr ou s an ll i ll u t r i o ec io includes an astonishin variety, rangin from Alien's monstrou mother to th disintegratin cannibalisti zombie inN ig h o ft h L iv in g e ad , or from Seth Brundle' Texa Chai Sa Massacre's cannibalistic ly oo an am ly f a i ly . I n w ha t s en s i s p sy ch ol og ic a t he or y o f a bj ec ti o " ex pl an at or y w he n i t ec in ca ca as at er d is ti nc ti ve , u i g en er i h u a n f ea r o f v ar ie t o f t hi ng s K ee p i n i n t ha t a bj ec t io n i n K ri st ev a f ra me wo r a lw ay s r ef er s a t b ot to m t o t h n ec e s it y o f s ep ar at io n f ro m t h p ri ma l o th er . W h u s a l o th e f ea r o me ho w e qu a o r b e r ed uc e to fear of th primal mother ec en ng er to an at ch ly is c ho lo gi ca l t he or y t hi s i s n o a n a rg u e n f o t h p ar ti cu la r p sy ch oa na ly ti c v ie w o f Laca or Kristeva Ther ar many alternatives so wh settle on these? Laca make problemati an philosophicall disputable metaphysical assertions abou th self t h n at ur e o f d es ir e a n s o on.'? Kristev make equally problematic quasi-empirical c la i a bo ut , s ay , t h i nf an t' s a cq ui si ti o o f l an gu ag e H e v ie w a r q ui t c on tr o 8Ibid. p. 42. "See Frederic Crews. "The Unknow Freud, T h N e Y or k R e vi e o f B oo k I I ov be 18 1993): 55-66; Adolf Grunbaum The Philosophica Foundations of Psychoanalysis (Berkeley: University of California Press, 1984): Gilles Deleuz an Feli Guattari Anti-Oedipus, trans. by Robert Hurle e t a l
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747
~e~sial even w~thin feminism; sh ha bee criticized for, variously, essentialist theo. nzing, promotin anarchy, idealizing maternity, or adopting view that ar fascisti apolitical or ahistorical.!' Luce Irigaray offers both scathing critique of Laca an intriguing alternatives to some of Kristeva's most basi claims.' Clearly, within psychoanalysis we ca identify many alternatives to Lacanian or Kristeva frameworks that migh also be fruitful fo film studies. Stanle Cavell fo example, borrow from traditiona Freudian psychoanalysis to offe quit subtle an comple accounts ofviewers desire an interest in relation tobot male an female actors embodiment of ~l characters roles." H e e e t o p ro vi d p ro mi si n f ra me wo r t o t h a na ly si s o f c er ta i t yp e o f f il ms , u c a s m e lo dr am a o r t h g en r ls th co em ia lt at el ll ia Relchla~ psychoanalytic theories migh be intriguing psychologica theories to pu to th test film studies. Jungians with thei theory of universa unconsciou archetypa structures migh pa more attentio to cross-cultural considerations in films, or t o f il ms ' l in k w it h v ar io u k in d o f f ai r t al e a n y th s R ei ch ia n h av e t h v ir tu e o f e m~ ha si zi n c on cr et e e xt er na l o ci om at er ia l f ac to r i n i de nt it y f or ma ti o a n ep io in ad he w ou l e na bl e u s t o o ff e b et te r i nt er pr et at io n The Brood.
o f c er ta i
f il m
l ik eFrankenstein or
Third, moving away from th particular restrictions of psychoanalysis find that p sy ch od yn a i c t he or ie s o ft e t en d t o b e w ea k a s f il m r ea di ng s b ec au s t he y a r t o reductive. They tend to utiliz one-dimensiona system of symbolic interpretation F o e xa mp le , e ve n w he n K ri st ev a i nt er pr et at io n s ee m i ll u i na ti n f o c er ta i ct il as am en ee if a sp ec t o f t h c li ma ct i b ir t s ce n i nTh Brood. h e f oc u o n t hi s a sp ec t o f t h f il m a~on s~em to lead he ~oneglec many othe importan features of th film.! In my view this film offers cnnque of severa concrete contemporary social problems th evil of charismati PS~Chotherapists an th ways in whic chil abus gets perpet u at e f ro m o n g en er at io n t o t h e n ex t I t i s l im it in g t o t ra ns la t s oc ia l c ri ti qu e i nt o d ep th -p sy ch ol og ic a t he si s a bo u h o a l ( al le ge dl y h av e d ee p a mb iv al en ce s a bo u o u a bj ec te d o th er s ve o r o f p ro bl e i s t h f ac t t ha t C re ed ' f ra me wo~kloca.tes the fi_lm'schief source of horror in th freakis mother (Samantha Eggar), settin aSI~ th film's apparent depictio of th megalomaniac psychiatrist Dr Ha Raglan (Olive Reed), as it centra villain. Creed' accoun thereb become insensitive to hist?~ca a_llusionsthe film make (and that Croncnberg quit typicall makes) t o t h t ra di ti o o f m a c ie nt is t h or ro r f il ms . S h a ls o i sr ep re se nt s t h s tr uc tu r o f th o.lm's plot, .which depicts an appropriate punishment that Dr Ragla suffers fo hi IS destroye by th monstrou children he ha so freakishly "fathered,
Kell~ Oliver, ~ea~in Kristeva: Unravelin thu Double-Bind (Bloomington Indian re;;s, 1993), introduction Oscillahon Strategies," an chapte 1,"Th Prodigal Child. 10See I b i . • c ha pt e 7 , f o r d i SCUSSlOn o f I ng ar ay ' differences with Kristcva Stanle Cavell, 'R marrwge am
Universit
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GENRES
F ou rt h p sy ch od yn a i c f il m t he or ie s t ha t d ep en d u po n v er y b as i d i t in ct io n b et we e a le s a n f e a le s- wh et he r a s v ie we r o bj ec t o f t h g az e o r p ur su er s o f d is ti nc t s or t o f p le a u re s- re l u po n c er ta i n ot io n o f g en de r t ha t a r t he m e lv e p ro bl e a ti c a n u nd e q ue st io n b y f em in is ts . M an y f e i ni s a n o th e c ri ti c h av e pointe ou that assertions abou fear of castration or abou th masculinit of logi an language ma be radicall culture- an era-bound. To make very broa generalizations abou "male" or "female" viewer blocks th recognitio of significan indi vidual difference amon viewer that surely affect ho they experience films. Thes includ significan difference of social class, sexual orientation, age, race an so on am e, en a ci a i d i t im an to movies such as N ig h o f t h i vi n D ea d an it sequel D aw n o j t h D ea d it seem unreasonable to it l ac k al e we r ex en il ts ze it ec il explicitly topai whit female an blac male as sharin certai "victim" status." v e t h m o b as i a ss u p ti o o f p sy ch od yn am i f e i ni s f il m t he or i t s t ha t i t is conceptually useful an appropriat to distinguis betwee male an female view en t we e te an ex en av ee p la ce d u nd e a tt ac k i n r ec en t t he or et ic a w or k i n q ue e a n p er fo r a nc e t he or y b y r it er s l ik e J ud it h B ut le r a n E v S ed gw ic k f oc us e a wa re ne s o f i ss ue s i n q ue e t he or y c ou l l ea d f o e xa mp le , t o i nt ri gu in g r e- vi si on s o f o vi e l ik e The Silence of th Lambs. h av e i n i n n o t h o bv io u p ro bl e i t t h f il m h om op ho bi c d ep ic ti o o f t h " Bu ff al o B il l c ha ra ct er , b u c ri ti ca l t ex tu re s t ha t m a b e a dd e t o r ea di ng s o f t h f il m w he n w e f oc u o n i t t ra ng e p ai ri n o f o di e F os te r w h w a a t t h t im e o f t h f il m r el ea s c on tr ov er si al l o ut ed " b y c tU p w it h t h v il la in ou s y e c ha r i n " Ha nn ib a e ct er ' c ha ra ct e w ho s f us s m an ne ri sm s a ll o h i t o b e
queen."!"
F if th , a no th e d if fi cu lt y w it h p sy ch od yn a i c e sp ec ia ll y p sy ch oa na ly ti c framewor fo feminist 111mstudie is that this view ha mysteriously acquired predominanc within feminist film theory that is completely disproportionate to it stain te ar is iz en l. ti er an an French feminist differ from on anothe an amon themselves no to mentio from Thir Worl anticolonialis feminists, an majo book in both popula an academic feminism in th United States have adopte widely divergen theoretica bases-bu t he s a r t yp ic al l n o p sy ch oa na ly ti c I ns te ad , t he y r an g f ro m r at he r v ag u a n s ta nd ar d l ib er al i g ro un de d i n t h t ra di ti o o f o h S tu ar t i ll , t o o r r ad ic a f or m o f a rx is t s oc ia li s a n f ro m F ou ca ul di a e mp ha se s o n d i c ip li na r t ec h n iq ue s o f k no wl ed g a n b od il y c on tr o t o n ew , v is io na r f em in is t w or k o n e co sy s te a n t h p os si bl y l ib er at in g r ol e o f t ec hn ol og y u re l t he s d iv er s a n f lo ur ishing form of feminist theory also have somethin to o ff e t o f il m s tu di es . M an y o f t he m f oc u f o e xa mp le , o n s ub je ct iv it y a n d e i re , o n v is ua l o bj ec ti fi ca ti o an
1 5F o p ar ti cu la rl y a cu t c ri ti qu e o f f em in is t f il m t he or y' s n eg le c o f r ac e i ss ~e s s e J an e G ai ~e S "White Privileg an Lookin Relations: Race an Gender InFeminis Film Theory in ed. Issues enFon-
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equality or on technologies of representation in ways that woul seem readil adaptable to film studies. Sixt an last 1doub that whatever insights ar produced by psychodynami read ings of horror film requir groundin in some particular psychogeneti theory that allegedl explains viewers' interest an response in genera filmic narratives an r ep re se nt at io n h av e n ot ed , p sy ch oa na ly ti c f e i ni st s c on st ru c g en de ri ze d a cc ou nt s o f t h t en si on s i n h or ro r b et we e k e f ea tu re s o f p ec ta cl e a n p lo t B u i t i s e nt ir el y p o s ib l t o c on st ru c t he or y o f h or ro r t ha t e mp ha si ze s t he s s am e t en sion withou genderizin them As fa back as th ancien world, Aristotle' accoun of traged in th Poetics recognized tensio betwee th aestheti effect evoked by traged an it narrativ structures.' Noel Carroll' Th Philosophy of Horror follows Aristotl an similarl pays centra attentio to th dichotom horror typicall depend upon betwee th cognitiv pleasure of followin ou th narrativ an th emotiona pain of art-horror associated with monsters an spectacles." If an account like Carroll' grasps thes same tensions an offers reasonable explanations of them w it ho u a ll ud in g t o e it he r g en de r o r d ep t p sy ch ol og y i t i s h ar d t o s e w h a s f e i n is t t hi nk in g a bo u h or ro r w e n ee d t o r es or t t o s uc h t he or iz in g m y o w m in d i f ther is an particular meri in th sort of commen that Cree make abou The Exor cist movie, withou an specia devotion to or even knowledg of th intricat theoretica groundin (an jargon of Kristevan psychoanalysis. Some of th genera problems havejus enumerated will likely aris fo othe psychodynamic feminist approaches to horror even ones that do no begi from strictly psychoanalytic framework, such as Caro Clover's "gende rezoning proposal in he recen book e n en in he i l 19 Clover's approach does have much to recommen it sh discusse subgenre ofhorro rather than trying to create wholly unifor theory sh attempts to locate horror f il m w it hi n t he i o ci oc ul tu ra l c on te xt ; a n s h r ec og ni ze s a n i nd ee d f oc us e o n so o f t h e lu si ve ne s o f g en de r c at eg or ie s e r t he or y i s u c l es s s ub je ct , t he n to my fourth objectio listed above.?? Ye even so Clover's accoun is problemati because, in th plac of psychoanalysis, sh assume th validity of an alternativ theory of gender an of ou psycholog-
l 70 f c ou rs e c er ta i o f A ri st ot le ' s ex is t a ss um pt io n m a h av e h a a n i mp ac t o n h i e va lu at io na l schema fo tragedies; fo more on this se my "Plo Imitates Action Aestheti Evaluation an Mora Real ism !n Aristotle's Poetics," in Essays on Aristotle 's Poetics, ed Arneli Rurt (Princeton Princeto Uni, 1 1ENoelCarroll, Th Philosophy of Horror Paradoxe of th Hear (Ne York: Routledge 1990). 19 en om n, an ha aw e nd e in t h M od er n H or ro r F il m (Princeton: C ar o J . C lo ve r P ri nc et o U ni ve rs it y P re ss , 1 99 2) . S e a ls o m y r ev ie w i n Afterimage (Marc 1993). 00 e sp it e h e a tt en ti o t o " re zo ni ng " o f g en de r d is ti nc ti on s a n t o s oc ia l f ac to r i n h o rr o f il m p lo ts , Clover SlLU s ee m a t u me s to fall prey to reductiv generalization or rather simplistic dichotomie an aSs?ciat.ion betw~e viewer charact~ristic an stereotype gender notions, By he ow admission, sh is ~aml lnte:,este in wh th predominantl male viewer of horror subjec themselves to bein "hurt" (= f en um ~e d . ) b y t h g en re . ! le r f ou ~ c ha pt er , " Th e E y o f H or ro r, " e xa mi ne s t h r ol e o f e ye s w at ch in g and gazing horror film ~IkePee~,mg Tom (1960). O n t h o n h an d C lo ve r a rg ue s t ha t t hi s f il m d ep ic t
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ca c e a li z t i teu on el co Laqueur, se is primitivel conceive as involvin on norm masculinity, which femininity is defectiv version. Clover thinks this mode is someho operativ both i n t h c on st ru ct io n a n i n t h e xp er ie nc e o f o rk s i n t h h or ro r g en re . h er e a r e v e ra l d is ti nc t q ue st io n t o r ai s h er e F ir st , o n i gh t a s o n h a b as i h ou l b e persuade to adop this particular theory of gender Laqueu is histori~ of scie~c w ho s v ie w a r b y n o m ea n u ni ve r a ll y a cc ep te d a n r el yi n o n h i t he or y IS rathe strang an arbitrar choice It s ee m d ou bt fu l t o m e t ha t a n b oo k o f f il m t he o r c a a rg u c on vi nc in gl y f o t h t ru t o f p ar ti cu la r p sy ch ol og ic a t he or y o f g en d er . N ex t m ig h a s C lo ve r t o a rg u f o t h a pp li ca bi li t o f t hi s t he or y o f g en de r t o t h h or ro r g en re . h e d oe s m ak e s ta b a t t hi s b u o nl y v ag ue ly , b y a ss er ti n t ha t horror originated in th time of th rather primitiv scienc that Laqueu is analyzing. T hi s c la i i ts el f n ee d o r d et ai le d d ef en se . o e i t e ve n h ol d o f t h e ar l w or k d ou b i t F in al ly , e ve n g ra nt e t ha t h e h i Frankenstein and Dracula f o i ns ta nc e torica clai abou th psychologica theories prevalen during th creation of earl w or k o f h or ro r w er e c or re ct , C lo ve r o ug h t o r ec og ni z t ha t s uc h t he or y i s h ar dl y predominan an longer Accordingly, it woul seem reasonable fo us to expe~t m?re r ec en t f or m o f h or ro r t o r ef le c t h c ur re n s ta t o f p ub li c k no wl ed g a n c ie nt if i t he or iz in g a bo u e x M y d ou bt s a bo u a l t h g ap s i n C lo ve r' s e xp os it io n l ea d m e t o question he particular observations abou individual films. Again, wher find such o bs er va ti on s i ns ig ht fu l a m i nc li ne d t o t hi n t ha t t he i v al u s te m m or e f ro m h o a cu te l t he y r ea d f il m t ex t t ha n f ro m h o a cc ur at el y t he y r ef le c t h r ea l h um a psycholog
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PR PO ED READIN
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In Part describe variou approaches tohorro within contemporary feminist film studie an identified problems in thes approaches some involvin specific psycho analytic tenets others more genera problems abou psychodynami approach~s B~t th feminist theorist have examined ar limite by more than thei problemati urnversalizin view abou huma psychosexual development. They also lack deep an well-grounde historical awarenes of horror's root an varieties. Clover's book does f oc u o n r an g o f h or ro r p lo t a n o n t he i o ci a a n c ul tu ra l c on te xt s b u o nl y o n horror film ofthe past tw decades. Horror ha much longer more comple history. or na ed th ic l, ac t se l i ~ an or ists to becaus ofth unusual.prevalence of wome asbot wnters an reader 10 this genre. M uc h g oo d f em in is t o r h a b ee n d on e i n r ec en t y ea r c on ce rn in g g ot hi c r om an c an th origin of horror in work like thos of Mary Shelley+ Ideally, feminist read ings ofhorro film woul benefi from awarenes of this research an of relate work
"IEugcni
de la Motte, Perils of th Night:
Feminist Stud of Nineteenth-Century
Gothic (New York:
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in cultural studie that examines th histor of horror in relation to specific sociocul tura contexts.P u rt he r f em in is t p sy ch od yn am i a cc ou nt s d o n o s ee m s en si ti v t o t h d az zl in g diversit of horror's subgenres: gothic ma scientist, alie invader, slasher-psycho rape revenge, B-movie, cult film scienc fiction, monster, possession film zombie c o e dy , a pa ne s h or ro r ( Go dz il la ) a n s o o n- ev e u si c v id e h or ro r ( Mi ch ae l Jackson's Thriller)! I n l ig h o f a l t hi s g en r d iv er si ty , d ou b t he r c a b e a ny on e "feminis theory of horror." Reflecting on th astounding variet of styles nuances, an to it is en al le an ti ul eo ha associates gender with th kind of looking, or monstrousness, or victimizatio that is ic it ec io th il e ce s i l i ll u t ra te . F il m w it hi n i ng l s ub ge nr e l ik e t h v a p ir e f il m a y p re se n al o ns te r a s d is ti nc ti v a s t h e ma ci at e i ns k N os fe ra tu , t h c am p B el a L ug os i th langui Fran Langella th sinister Christophe Lee, an th macabr ball-goers o f o la ns ki . q ui t h or ri fi c a n g or y m ov i c a a l b e i ld l f un n (Texa Chai Sa Massacre I/ An American Werewolf in London). H or ro r f il m c a b e v er y e er i an subtly creepy (The Dead Zone), or they ca reve in over-the-top hair-raising outrageous effect ( E an h- ch i ca l Il). romances" (Repulsion) or virtual cartoons (Predator 2 ) T he y c a b e h is to ri ca l c os tu dr as Coppola's or Nosferatu, technophilic futuristi visions (Alien). They ca be vividl realisti (Jurassi Park or ridiculously fake (Godzilla). They ca be incredibly original (Scanners, Brain Dead), mindlessly imitativ (Silen Madness Orca), t tl e (Bod Double) a ss um e t he n t ha t p ro mi si n f em in is t a pp ro ac h t o c in em at i h or ro r h ou l h e h is to ri ca ll y a wa r a n a l b ro a a n o pe n e no ug h t o w or k f o a l o f t he s v ar ie ti e o f h or ro r I n l ig h o f t he s o bs er va ti on s a s w el l a s t h l i o f s i c ri ti ci sm s m ad e i n P ar t 1 , th e t as k o f b ui ld in g " fe mi ni s t he or y o f h or ro r m a s ee m o nu me nt al . A n in f ac t t hi s i s n o e xa ct l w ha t a i a t h er e M y p ro po sa l i s p er ha p b es t u nd er st oo d eo rr an at em eg th deficiencies an positive requirements have outlined sugges strategy or framew or k f o c on st ru ct in g f em in is t r ea di ng s o f h or ro r f il ms . M y s tr at eg y w ou l e mp ha size th structur of horror film an plac specia weight on thei gender ideologies i n s en s s ha l e xp la i f ur th e b el ow . First, it is useful to distinguis variou role that feminism ca play in film studies. Fo convenienc shal labe thes roles, somewhat pretentiously, th "extra-filmic" an "intra-filmic. By th "extra-filmic" role mean to refe to feminist investigations, in sociological anthropological, or historical vein into actual concrete issues c on ce rn in g t h h is to ri ca l c on te xt , p ro du ct io n a n r ec ep ti o o f h or ro r f il m I n t hi s r ol e f em in is t c ri ti c w ou l a s q ue st io ns , f o e xa mp le , a bo u w o e n' s o ti ve s a n experience in producing, writing, directing, editing, an acting in horror films. Alternatively they migh explor receptio theory lookin at actual examples of ho varin di al au en es as em is le an ie ce
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review an read horror films-perhap in unusuall creative an nonstandar ways.2 A no th e t yp e o f e xt ra -f il mi c e xp lo ra ti o w ou l b e t ha t o f t h c ul tu ra l h i t or ia n w h a i m t o l oc at e s pe c fie p er io d o r v ar ie ti e o f h or ro r o vi e w it hi n t h s or t o f h is to r i ca l a n s oc ia l c on te x t ha t f in d a bs en t i n o s c ur re n f em in is t t he or iz in g I n t hi s role feminist critic coul examin th link betwee horror film an relate work of literature. ho id ll th yp ex a- il x p a ti o ha ve ju nt io ne d v er y i mp or ta nt , o w f oc us , s te mm in g i n p ar t f ro m m y o w p er sp ec ti v i n il ph ot io ne i ca l i sc i l in e l l in ea a t c al l th intra-filmic question abou horror My proposal fo producin feminist readings or interpretation of horror film is that we should focu on thei representational cont en t a n o n t h n at ur e o f t he i r ep re se nt at io na l p ra ct ic es , a s t o c ru ti ni z h o t h f il m r ep re se n g en de r s ex ua li ty , a n p o e r r el at io n b et we e t h s ex es . u gg es t t ha t f e i ni s r ea di ng s o f h or ro r f il m p ro ce e b y l oo ki n a t v ar io u c ru ci a o rt s o f le ts e s e le me n c o c e r e t at i of nd o ns te r i th i f il ms . O th er s e xp lo r h o t h f il m i s t ru ct ur e a n h o i t w or k Within my recommende framework, we must shif attentio away from th psycho cs ew es t h n at u il if ct ha ay s tu di e b y e xa mi ni n b ot h t he i c on st ru ct io n a n t he i r ol e i n c ul tu re . s tu d t he i c on st ru ct io n w e l oo k a t u c t an da r f ea tu re s a s p lo t c ha ra ct er s a n p oi n o f v ie w dy ei ro in lt e- at in ir ut th e mi n t s e xa m in thei gender ideology This is my chie goal in producin feminist readings ofhorror films. Le o ff e s om e c la ri fy in g c om me nt s h er e a bo u m y p ro po sa l o gy " b or ro w f ro m M ar xi s t he or y s up po si n t ha t a n i de ol og y i s
h e l ab e " id eo l d is to rt e r ep re -
sentatio of existing relation of powe an domination In th particular projec am i nt er es te d i n o bv io u l y t he s w ou l b e r el at io n o f p at ri ar ch y o r a l d o i na ti o (togethe with an relevant associated relation of clas or race dominance) Feminist i de ol og y c ri ti qu e i s d ee p i nt er pr et iv e r ea di n t ha t c ri ti ci ze s o r a na ly ze s f il m p re se nt at io n o f c er ta i n at ur al iz e e s a ge s a bo u g en de r- me ss ag e t ha t t .h e f il m t ak e f o g ra nt e a n e xp ec t i t a ud ie nc e t o a gr e w it h a n a cc ep t T he s i l t yp I call be messages that perpetuate th subordinatio an exploitation of women; they es en er ch ge er ze le e la ti o th ar h? t ra ye d a s n or ma l i n t h d is co ur s o f t h f il m. " O r o cc a i on al l a n m or e i nt er es t ingly, an analysis of th film's ideology migh show that th film itself is raisin ques tion abou "normal" relation
of gender dominance.
24Asa parallel se "Illicit Pleasures: Feminist Spectators an
It m ig h b e t ho ug h
t ha t t h s tr at eg y
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a pp ro ac h o n o ul d a na ly z g en r o f h or ro r l ik e t h s la sh e f il m s ay , b y o hs er v in ho images of wome ar presente in thes films. Thus typically, youn wome re e it h a s t ee n e d e x i e o me h er ei
~:.
is er en at th ha a so n ic ae rs 1do co e xp lo r f il m g en de r i de ol og y a s v ar io u q ue st io n t ha t w ou l a ls o b e th pr ch ch es th il i ct / e p e n -a p at ie nt s k no we rs , s uf fe re rs ? o r W ha t r ol e d o o me n p la y v i - a- vi s m e i n t h
at to a sk e en f il m
However, take feminist ideology critique to go beyond this rather simple se of ques t io n i n t w m ai n w ay s an to a si z f i as om le c ti o n g a r i f c t c o p o w id e v ar ie t o f e le me nt s i nc lu di n o r t ha n s im pl y t h r ep re se nt at io n o f c ha ra c t er s O bv io us ly , f il m a ls o i nc lu d t ec hn ic a a n f or ma l f il mi c f ea tu re s u c a s e di t i ng , v is ua l p oi n o f v ie w l ig ht in g s ou nd , a n c o t um in g a s w el l a s f ea tu re s s ha re d th li er ch lo al ue di nc po ie an ra iv ct e. ni id lo i ti q xp an ll th at es ha s ee m r el ev an t t o u nd er st an di n f il m' s p re se nt at io n o f g en de r i de ol og y hi ma i nc lu d f oc u i n o n w ha t N oe l C ar ro l h a c al le d r he to ri ca l s tr at eg ie s s uc h a s t h e li ci ta ti o o f a ud ie nc e p re su mp ti on s i n c om pl et in g g ap s in the story.?? a pp ro ac h w e w ou l a s q ue st io n l ik e t he se : o w d o t h f il m' s s tr uc tu re s o f n ar ra t iv e p oi n o f v ie w a n p lo t c on st ru ct io n o pe ra t i n e ff ec ti n d ep ic ti o o f g en de r r ol e a n r el at io ns ? D oc s t h f il m o ff e h er oi c m od er ni st " n ar ra ti v o f m as te ry , tragedy? Or is ther nonstandar narrativ centered upon female characters offering, perhaps, more open-ended an ambiguou conclusion Does th film referenc historical or genr precedcnts=-say, particular earlie vampir film or th ma scien is re en al an if es it en n , e p i ca te , a r r ev is e t h g en de r t he ma ti c o f i t p re de ce ss or s W ha t a r t h f il m' s i mp li ci t r he to ri c a p re su pp os it io n a bo u n at ur a g en de r r ol e a n r el at io ns ' D oe s t h f il m p re se n possibilitie of questionin or challengin thes presumptions Second, d o m ea n s o e th in g b y c al li n f em in i i de ol og ic a c ri ti qu e o f h or ro r " de ep " i nt er pr et iv e r ea di ng . A n i nt er es ti n a n c re at iv e f e i ni s r ea di n o f f il m ma look "below it surfac representation of male or female characters to consider g ap s p re su mp ti on s a n e ve n h a i s " re pr es se d, " b y w hi c e a s im pl y b lo ck ed , O mi tt ed , o r a vo id ed , i n t he s r ep re se nt at io ns . M y t ra te g a cc or d w it h a dv ic e l ai d o u b y t h F re nc h f e i ni s L uc e I ri ga ra y i n h e d is cu ss io n o f h o t oc on st ru c d is ruptiv feminist readings of th discours of th male wester philosophica tradition:
Personal Best," by Elizabeth Ellsworth
in Issues in Feminist Film Criticism, 2~Foranother exampl ofan ideologica examinatio of horror film that take differen approach froem in e s e T an i M od le sk i " Th e T er ro r o f P l ea su re : T h C on te mp _0 ra r H or ro r F il m a n p os tm od er n: n ory, in Studie in Entertainment: Critical Approaches to Mas. Culture, ton: University oflndian Press. 19H6), p p I 55 -6 6 . .M od lc sk i a dv an ce s c om pl ic at e s e o f r ea so n t ¥
.2f>Podiscussion of this approach se Noel Carroll, "The Imag ofWomen inFilm D ef en s o f a P ar 48, (Pal 1990): 349-60 adigrn," Th Journa ofAesthetics an Ar Criticis 2 7N oe J C ar ro l h a d is cu ss e s om ew ha t d if fc re n n ot io n o f t h i de ol og ic a e ff ec t o f c i ne ma . T h p ar ticula conception Carrol criticizes th "Althusseria Model. rather narrowly allege that films' contents a n f or ma l s tr uc tu re s f un ct io n t o p re se n c er ta i d is to rt e p ic tu r o f t h v ie wi n s ub je ct . C ar ro l o ff er s
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j ec t o r t h o bj ec t b u o f j a m i n t h t he or et ic a a ch in er y i ts el f o f s u~ pe nd in ~ i t p re te ns io n t o t h p ro du ct io n o f t ru t a n o f e an in g t ha t a r e xc es si ve l u ru vo ca1."28Referencing Irigaray ma seem inconsistent on my part give that sh oper ates within th Lacanian psychoanalytic tradition. However, lrigaray ha in fact writ te some of th stronges feminist critique have read of th most basi assumption o f F re ud ia n a n a ca ni a p sy ch oa na ly ti c t he or y u rt he r d o n o b el ie v t ha t u s of he recommende strategies of reading-fo philosophy literature or film-mus rely on an specific psychosexual assumptions. That is as strategies of reading they w or k m uc h l ik e d ec on st ru ct iv e t ex tu a s tr at eg ie s t ha t a r l og ic al l s ep ar ab l f ro m thos psychologica assumptions. brie exampl ma help show this l ri ga ra y h a w ri tt e c ri ti ca ll y a bo u P la to ' a n A ri st ot le ' t re at me n o f f or m a n b ec au s t he y a ss oc ia t i t i t m as cu li ni t a n o rd er . N ow , i t c ou l w el l b e a i t ha t l ri ga ra y p ro ce ed s b y o ff er in g s o s or t o f d ep t p sy ch ol og ic a r ea di n o f h o t he s philosophers trea matter Plato, as th "womb, Cave or receptacle Aristotl a~the " en ve lo pe " o r p en i s he at h T hi s s or t o f r ea di n c ou l b e r eg ar de d a s a n a na ly si s o f t he i m ot iv e o r o f t h o ng oi n a pp ea l o f G re e p hi lo so ph ic a f ra me wo rk s t o s ub se quent, mostly male philosophers However, it strike me that Irigaray's critique func io qu ll as co ru ti re di at ab es ue io o s b a i c a ss u p ti on s o f t h e d is co ur s h e i s e x a i ni ng , i n t hi s c a e , a nc ie n e ta p hy si cs . O n c a f in d a ct ua l p as sa ge s i n w hi c t he s p hi lo so ph er s a ss oc ~a te d ~ ?r m with masculinity. So Irigaray's "deep" readin conforms with my conception ot Ideo lo g c ri ti qu e i n t ha t s h q ue st io n t h m os t b as i w ay s i n w hi c a n a pp ar en tl y n eu t ra l a n o bj ec ti v f ie ld , e ta ph ys ic s c on ce al s a n c on ta in s h ie ra rc hi ze d g en de r n ot io ns . O n n ee d n o a cc ep t a n p sy ch oa na ly ti c t en et s t o u s e t hi s s ty l o f r ea di n th ar ic la ou is e, as h i a se , o t w a a ss oc ia te d w it h a sc ul in it y a n c on si de re d b y t h a nc ie n G re ek s a s m o r v al u 2Y able than matter bu also what an alternativ metaphysical schema woul look like S im il ar ly , t o t r t o t ra ns fe r t h p oi n o f t hi s l as t p ar ag ra p t o f il m s tu di es , C ar o C lo ve r i n h e e xa mi na ti o o f t h d ep ic ti o o f t h f em in in e i n l as he r f il m h a p ro v id e s o e th in g l ik e a n l ri ga ra ya n " de e r ea di ng " t ha t c ri ti ci ze s a n e xi st in g f or m o l d is co ur se . h e p oi nt s o u f ir st , t h o bv io us , t ha t t he s f il m t yp ic al l s ho w y ou n o me h ad to x y a n a ll u g - o r th a tt ac k le Beyond this sh offers "deeper" readin by arguin that slashers also reinforc cul-
2 8L uc e I ri ga ra y
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: C , p. 7 29Fo more thoughts abou th usefulness of lrigaray's approach fo nonpsychoanaly~i femim~ anal yt i p hi lo so ph ic a r ea di n o f h is to ri ca l t ex ts , s e m y " No ur is hi n S pe cu la ti on : F em l~ ls t R ea di n o ~ Aristotelian Science, in Engenderin Origins: Critical Feminist Essays 011 Plato and A:lslotle ed ~,at Am Ba On (Albany, N.Y. SUNY Press, 1994), pp 145-87 an "Reading lngara Readmg.Anstotlc: R e- Re ad in g t h C an on : F em in is t E ss ay s o n A ri st ot le . ed Cynthi ~rccland (Pennsyl.vam ~mvel~ Press: forthcoming) pp 126-42. e ll y l iv e o f e r s o e wh a l II ul a a pp ro ac h h ic h h e a ls o
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HORROR FILM
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t ur a e s a ge s a bo u t h v ir tu e o f m as cu li ni t b y p re se nt in g v il la i w h i s d ef ec tively masculine-ofte someon pudgy, awkward, shy, or seemingl impotent-Lan h er oi n ( th e " Fi na l G ir l" ) w h i s o r m as cu li n t ha n f e i ni ne . w ou l c al l t hi s ep ea in e ca u at he ap ar tl v i l ai n a r a ct u l l ad b ec au s t he y a r c ul tu ra ll y c od e a s f e mi ni ne . W he r p ar t a y w it h C lo ve r i s t ha t r ej ec t h e a s u mp ti on s a bo u t h n ee d f o g ro un di n t hi s o r o f r ea di n i n t h t ru t o f g iv e p sy ch os ex ua l m od e ( La qu eu r' s) , o r a bo u t h p ro ce ss e t hr ou g w hi c s la sh e a ud ie nc e' s p sy ch ol og ic a i nv es tm en t ( an d h en c p le a u re ) i n t he s m ov ie s allege reflects certai standard universal, gender -associated psychological interests My recommende approach is continuous with previous approaches to artworks in t h W es te r a e t he ti c t ra di ti on , r an gi n f ro m A ri st ot le ' a cc ou n o f t ra ge d i n t h Poetics an Kant' Critique of Judgment t o m or e c on te mp or ar y w or k l ik e K en da l Walton's Mimesi as Make-Believe. Philosophers have typicall supposed that it is a pp ro pr ia t i n a es th et i t he or y t o d is cu s a sp ec t o f t h p sy ch ol og y o f o u r es po ns e t o a rt wo rk s b u t he y h av e d on e s o w it ho u p re su mi n a n p ar ti cu la rl y d et ai le d t he o r o f t h p sy ch e T he y e mp ha si z t ha t p ai nt in gs , t ra ge di es , o r e ve n l an ds ca p g ar dens ar particular kind of phenomenon intentionall create an structured topro in ti n, an It i s e n g h ur of ph lo ca ae he ic to employ commonsense. everyday notion of huma psychology to assume that we ar capabl of bein frightened excited, horrified, an so on by artistic representations, a n t he n p ro ce e t o t r t o a na ly z h o t hi s o cc ur s d op ti n p ro po se d f ra me wo r m ea n s i p l t ha t f em in is t c ri ti c w il l c on s tr uc t r ea di n t ha t f oc us e o n g en de r r ep re se nt at io n w it hi n f il m b eg in ni n w it h ci ic ue io at ca ar as ap i at e a cc o n g to th il ow p er io d s ty le , a n t on e D i t in c f em in is t r ea di ng s o f t h s am e h or ro r f il m c ou l e as ly co uc ed is in ee ay bl at lm ay av ch to that is particularly exciting or illuminating on th subjec of gender Also an importantly feminist readin need no be "complete" readin of th movi that purports t o a tt en d t o a l i t m an y e le me nt s b el ie v t ha t p ro po sa l t o u s b a i c s e o f q ue st io n a bo u g en de r i de ol og y a s broa strategy fo feminist film readings help overcome some of th defect of curr en t f em in is t f il m t he or iz in g e nu me ra te d i n P ar t 1 , a n a n t o e xp la i m or e h er e it as an e me n c al l a t b je c i o co er ed th problemati assumption of particular psychoanalytic theory or of psychoanalysis g en er al ly . O bv io us ly , m y p ro po se d t ra te g d oe s n o e nc ou nt e t he s p ro bl em s I t d ?e s n o a do p a n p ar ti cu la r p sy ch od yn am i t he or y o r t he or y o f s ex ua l o r g en de r difference My thir objectio querie currentl dominant presumptions abou gende dichotomie between, fo example, th aggressive masculin gaze an th passiv female spe~tacula body avoi thes sort of assumption abou gender precisel by f o~ eg r? un dm g a s m y f ir s q ue st io n t h i ss u o f how film depict gender My fourth o bj ec ti o w a c ha ll en g t o t h t he or et ic a r ed uc ti vi s o f d om in an t f em in is t f il m criticism; on this point, w ou l h op e t ha t m y s tr at eg y o pe n o u t o c on ne ct e i s u e
756
FILM GENRES
p ro po s i n c o b in at io n w it h m an y t yp e o f f e i ni s F o e xa mp le , t o d ia gn o th g en de r i de ol og y o f f il m o n c ou l a d p t t h v ie wp oi n o f a rx i o r l ib er a f e inist; in either case woul suppos on coul be critical though of differen aspect of th film an to differen ends Similarly, feminist theorist steepe in Foucault or D o n a H ar aw a i gh t a s a b u t s o of q ue st i n s b y l oo ki n a t v er y d if fe re n f ea tu re s o f f il m- at , f o i ns ta nc e h o i t p or tr ay s d is ci pl in e o f t h e f em al e b od y ho it depict wome in relation to technology M y s ix t o bj ec ti o s ta te d t ha t o n m ig h e qu al l e l a ch ie v t h i ns ig ht s o f f e i ni s s yc ho an al yt i i l t he or y i th ou t i t p ro pp in g i n p sy ch od yn a i c t he or y in th e st i ed ab tu ly w o t o t ak e t h p la c o f o th er s p os e o n t h o r p ro bl e a ti c b a i s o f f o i n t an ce , dept psychoanalysis Question abou "the gaze," th sadistic male viewer th masculine narrativ order, an so forth, ar replaced here by question abou whethe th film presents wome as primaril sufferin an tortured physical beings or whethe t he y a r a ls o h ow n t o b e a le rt , c ur io u i nt el li ge nt , c ap ab l o f i nd ep en de n i nv e t i g at i n , a n o n a n a l b y q ue st io n a bo u w he th e t h o me n c ha ra ct er s h el p move th narrativ along, or ar simply target of th horrific spectacle. woul hope t ha t c ar ef u c on si de ra ti o o f t he s q ue st io n w ou l a ve r r ed uc ti vi s a n a ll o flexibilit in recognizin that horror movies ofte have very complex, mixe representations of women.
PAR 3: ILLUSTRATION im to ll tr co eg er critical feminist readings of horror film an thei gender ideologies will firs discuss Jurassic Par and The Fly, film 1choos specifically because, on th surfac at least, they seem to presen positive images of strong intelligent, an active women. This make them especially interestin to read fo underlying ideologies Next shal t o Repulsion, lm th th em at b ec au s i t f ea tu re s h or ri fi c f e a l l a h er / u rd er er , b u w hi c f in d t o p re se n surprisingly radica questioning of existin gender ideology. begi with Jurassic Park. First, ho does th fil represen women? Superficiall at least, it d is pl ay s c on te mp or ar y I 9 90 s f e i ni s v is io n o f w o e n a n g ir ls . h e female paleobotanis Dr Elli Sattle (Laura Dern is presumably well-educate an authoritativ in he ow field; sh show enthusiasm an expertis in classifyin th a nc ie n p la nt s i n t h p ar k S h i s c ou ra ge ou s a n p hy si ca ll y a ct iv e a n s h a ke s cracks abou th othe characters sexism An th youn girl is said to be computer hacker. Nevertheless we ca hardly call th movi an unmitigate feminist achievement. Th paleobotanist' ow scientific expertis is neve treate as especially deep or rele va nt . I t i s r at he r t h a l c ie nt i D r l a r an t ( Sa m N ei ll ) h o e sp ou se s c on troversial theory (about dinosaurs' clos relation tobirds that will ge tested an confirmed in th park El1i is show enthusiastically identifyin plan specie in th park
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h e h a n ev e h ea r o f c ha o t he or y a n t h m al e a th e a ti ci a I a M al co l ( Je f o ld bl u e xp la in s i t t o h e i n t h c on te x o f t ea si n e x c en e t ha t t re at s h e l ik e i ll y t ee na g b i b o T hi s o r d ep ic ti o i s u rt he r e nf o c e b y t h f ac t t ha t h e i s lo en er at as er an le en l ea gu e a n l ov e u rt he r t hr ou g o s o f t h f il m s he , u nl ik e a n o f t h a l c ha r acters consistently wear little shorts that show of he long coltis legs i mi la rl y t h y ou n g ir l ( Ar ia n R ic ha rd s p en d o s o f t h f il m i n a bj ec t f ea r o f t h ' l- re x S h i s e ve n a fr ai d t h l ar g g en tl e b r n to sa um s w h s ne ez e a l o ve r er es lo ic ct ac tr duce rather casually an coincidentally toward th en of th film an does no seem e sp ec ia ll y e l i nt eg ra te d i nt o h e c ha ra ct er . he sh a na ge s t o g e i nt o t h c om p ut e s ys te m h e t a i s t h e e la ti ve l i no r o n o f f ig ur in g o u h o t o g e t d oo r t o clos properly. N ex t h o i s o n t ro us ne s i n t h f il m r el at e t o f e i ni ni ty ? A l t h m on st er s in th ar it al it this-nothing particularly horrific abou primal mother on th scal ofAlien at leas I t i s n o e as y t o r ea d t h f e i ni ni t o f t h m on st er s h er e s in c i t i s n o u ni f r m b u s ee m t o p er mi t g re a r an g o f d if fe re nc e s o v ar ie ti e a r h u a n v or ac io u ~thers ~theraptors ar smaller, clever an vicious; ye others ar large, gentle cowlike beings vulnerable to indigestio or colds. woul sugges that th film presents s.tand~d arra o~cultu.rally coded, negativ message abou female throug it depicno of thes vanous dinosaurs. Some dinosaurs, like some women, ar rat,sweet an g en tl e a n o th er s a r t hi n v ic io u a n s ch e i ng . ( Th er e c a b e i n o th e o rd s n o w ee t s ma ~ d i~ os au rs ! n e c ou l g o f ur th e i n n ot in g t ha t f ro m t h p er s e ct iv e o f t~ male sCI~ntlsts~ho create an stud th park al female dinosaur have mystenous sexua.ht that IS"other" thei peculiar threat lies in thei frog-derived abilit to conver thei ~e so as to be able to reproduc independently. Thus on deep reading, th le in ep en al th er uncontrolled, rampan femal sexuality as well as awesom reproductiv abilities. Anothe question to as abou in assessin film's gender ideology concerns wh ~ ov e t h n ar ra ti v a lo ng , h o i t c hi e a ge nt s a re ; e re , c le ar l i nJurassic Park it IS no the.woman Orgir Ther ar no wome involved in th creation or operatio of t h a r I ts el f h e k e h u a n a ge nt s o f t h o vi e h o i ni ti at e t h c ha i e ve nt s p re se nt in g t ~ o vi e' s c en tr a p ro bl e - t p ar k o gu l t h s ha r l a y e a n t h co za ll lm as In al th releva~t senses settin up th problemati situations making them worse, an th es lv ca ac ti t hi s e m penphera to thei chie roles, sinc during most of th action sequence of th .movie t he y a r r el eg at e t o f un ct io n o f n ur tu ri n t h il in ca ~t th center of th ke scenes that depict th children's bein threatened then escapmg th tyra~nosallrus Instead, th male scientist/father figure does this whil sh is e?nfined mainly to nursing, firs th sick triceratops, then th wounde mathematicran He sudden interest in th sick triceratop seem poorly explaine by he
758
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le th th en er eo Jurassic Park s ee m t o b e t o c on fi r that women, even when they ar brav an scientific must remain pretty flirtatious, a n n ur tu ri ng . r o t h v er y s ta r t h f il m r ep re se nt s i t a s c en tr a a i i n E ll ie ' l if e t o c on vi nc e h e l ov e t o h av e c hi ld re n T hu s i n t h f il m' s t ra je ct or y G ra n f ul fi ll s h i chie aim, demonstratin hi scientific hypothesis abou dinosaurs, whil sh fulfills er r a l el , a s th lm cl ng en li ap il in view we share) atAlan, no appropriatel fatherly sleeping with th tw children he h a s av e c ud dl e i n h i a rm s h e f il m' s e nd in g t hu s d ep ic t r e o lu ti o t ha t p ro d uc e h ap py , r el ie ve d a n i de al iz e n uc le a f am il y It i n l u th fo e ig ne r w h a r l ow l p ar k l ab or er s n o c o p ut e n er d n o g re ed y l aw ye rs , a n n o b la c e mb er s- ju s t h w hi t s ur ro ga t p ar en t a n g ra nd fa th e w ho s r eg re t s ig n if ie s t ha t h e i s t o b e e xo ne ra te d f o h i m is ta ke s i n t h o th er wi s i nn oc en t d e i r t o e nt er ta i p eo pl e v e o r s ig ni fi ca nt ly , t h v er y l a s ce n o f t h f il m i s v is io n of ly d s- p l i a n o, en lh et er te le te d ac ty l h u t h f il m c on cl ud e w it h s ub tl e m es sa g t ha t r ei nf or ce s t h " he ro ic " m al e s ci en ti st ' c re at iv e v is io n a n t he or et ic a a ch ie ve me n i n h yp ot he si zi n c or rectly abou th bird-lik nature of dinosaurs. m ov e n o t o s ec on d e xa mp le , D av i C ro ne nb er g' s r em ak e o f The Fly. In thi f il m t h h er oi ne , V er on ic a Q ua if e ( Ge en a D av is ) i s r ep re se nt e a s a n a mb it io us , i nt el li ge nt , p ra gm at ic , a n s uc ce ss fu l c ar ee r w o a n s ci en c w ri te r S h i s a ls o c ha r i ng , f un ny , b ea ut if ul , a n e xu al l f or wa rd -e it he r f an ta s w om a w h f al l s tr ai gh t i nt o b e w it h m en , o r t h c on fi de n n e w om a a ss er ti v a bo u h e o w s ex al es es co ld ai eh fe al ay vi s le p i t o n o f h e r c ol le g p ro fe ss or s w h i s n o h e e di to r a n l at e w it h t h s ub j ec t o f h e r c ur re n r es ea rc h a rt ic le )- bu t sodo th en in th o vi e M or e p ro bl em a ti c i s t h f ac t t ha t s h o nl y s ee m t o e xi s i n t h f il m i n r el at io n o f u bo rd in at io n to m en . A s s ci en c w ri te r h e p os it io n i s m o r l ow l t ha n t ha t o f t h c re at iv e s ci en ti st s w ho s g en iu s s h w il l s im pl y r ec or d a n r ep or t o n t o t h e w or ld . S im il ar l a s w ri te r s h i s s ub or di na t t o h e e di to r a t t h s ci en c a ga zi ne . Thes relation of subordinatio parallel Veronica's position in th film's plot an n ar ra ti v s tr uc tu re , S h e xi st s i n t h o vi e p ri ma ri l i n d ep en de n r el at io ns hi p t o t h m al e c ie nt is t D r S et h B ru nd l ( Je f G ol db lu m) . T h f il m i s v ar ia n o n t h m a s ci en ti s g en re , a n B ru nd l i s t h m a c ie nt i a t t h c en te r o f i t n ar ra ti v t ra je c tory. If this film reache greate tragic height than many othe ma scientis movies ha ay be ca it i ll s to le i te r gi t: he er i nv ol ve s s om e s or t o f f at a m is ta k a n h ub ri s b ri ng in g a bo u h i d ow nf al l. P T hi s film is narrativ abou th man' activities, his heroism and tragi downfall. Veron ca un ti in an as ec is tr ed an an al od ia c ie n ek ch di re es ty an ar (o th ca h or ro r) . T h f il m o ft e p ut s v ie we r i nt o h e v ie wp oi nt , f or ci n u s to observe from
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t ic u a r o r i c ea of hi as th er c ie s both t h al fe oe ta e ci f t u ai en en he s ci en ti s s ee k h i o w r es cu e b y d e a nd in g t o u se , a n c or ru pt , h e r ep ro du ct iv e a bi li ti e ( sh ow ca se d i n d is gu st in g n ig ht ma r h e h a o f g iv in g b ir t t o g ia n m ag g ot ) Y e u lt i a te l i t i s h e a n n o s h w h u ff er s h e i s p un is he d f o h i s ci en ti fi c h ub ri s a s s h t ig ht s f o s ur vi va l ( wi t s om e m al e a ss is ta nc e b u n ev er th el es s h e i s v er y c ou ra ge ou s a n r es is t h i f in a a pp ea l t o s ac ri fi c h er se l f o h im . It is diffi c ul t t o f or c r ea di n o f t h m on st ro us ne s h er e a s f e i ni za ti o o f h i b od y w ha t m ak e m or e s en s i s t o s e t he s t ra ns fo r a ti on s a s e ta ph or s f o a gi n o r f o r av agin illnesse like cancer or AIDS very traditional, male-centere an male-drive form th The Fly's narrativ ha e nt i ce ds is pa it he l e a ct s t h el o cc u e s t r i ti o in th en at io er ep io re lu th il ie ar n, es te hi ri th lo e, pity an sympathy In The Fly Jurassic Park, t h m a s ci en ti s w h c re at e t h cr he or is an to ea it an ob em lo an empath ar th ke female traits Ther isno real challeng tothi gendered divi la or or to th id ha to es i ma r l y b o en nl ec ar ly a bo u t h w o e n w h l ov e t he m C on si de r f o e xa mp le , t h f ac t t ha t V er on ic a' s o w t ra ge d i n t hi s o vi e i s i n i ts el f u bo rd in at e t ra ge d b ro ug h a bo u b y B ru nd le ' m is ta ke , a n o n c en te re d i n t h r ea l o f h e b od y a n h e e mo ti on a l if e t h l os s o f l ov er , t og et he r w it h f or ce d a bo rt io n h e m ov i m ak e a b o lu te l n ot hi n o f t h f ac t t ha t s h l os e o u o n w ha t c ou l e as il y b e t h b ig ge s s ci en ti fi c s co o o f h e j ou r n al is ti c c ar ee r ( In de ed , w ou ld n' t t h a vv y a n c om pe ti ti v w o a n j ou rn al is t s h s ee me d t o b e a t t h e s ta r i m e di at el y b eg i w ri ti n u p t h e w ho l t hi ng , c om pl et e w it h v i e o l u a ti o th ju i n Jurassic Park beneat th surfac d ep ic ti o o f a n i nd ep en de n c ar ee r o ma n i n Th Fl lies th ideologica messag t ha t w o e n a r p ri ma ri l c re at ur e o f t he i e mo ti on s h o e xi s f ir s a n f or e o s i n thei love relation to me an potentia offspring. T he s a r t w e xa mp le s o f f il m h av e c ho se n b ec au s t he y e e t o o ff e p o i ti v de ic io ep nd en ar ct rs ch b el i v e r e u n ne deeper ideologica messages Further, they ar interestin to examin in contrast with t yp ic a f em in is t p sy ch oa na ly ti c v ie w b ec au s t he i d ep ic ti on s o f t h h or ri fi c o n s te r a r n o t h t yp ic a o ne s o f c a t ra ti n w o a n o r p ri ma l o th er . I ns te a w ou l l oc at e t h o s p ro bl em at i a sp ec t i n t he i g en de r i de ol og y a t t h l ev e o f t he i n ar a ti v ic ac ca ed an ly a ti v oc le en ie activities, triumphs, or tragedies 3 1D av i B or dw el l h a s ug ge st e t ha t " re ad in g a ga in s t h g ra in " a pp ro ac h m ig h t ak e t hi s f il m t o b e s ub ve rs iv e e xp os e o f t h m a s ci en ti st ' " hy pe rr na sc ul in it y ( "N er d b ec om e b ar ro o t hu g a n r ap a do no thin it ca work mainly becaus CIOUS seducer"). Whil this is an intriguing line of interpretation o f t h f il m' s c on ti nu e s ym pa th y f o B ru nd lc . H er e a ga in . a s s ug ge st . t h f ac t t ha t V er on ic a' s l ov e a n p it y. pe rs is t d es pi t ~ i u gl y b eh av io r a n t ra ns fo rm at io n i s m ea n t o b e o u g ui d a s t o h o t o r e ac t t hi n
le e sc r er am le ie quite different logic Repulsion. Again w an t t o a rg u t ha t s ur fa c a pp ea ra nc e c a b e d ec ei vi ng . t h s ur fa c t hi s i s h or ro r s to r i n w hi c v er y b ea ut if u a n e x w o a n C ar o L ed ou x ( Ca th er in e D en eu ve ) b ec o e s m a l as he r a n v il la i w h a tt ac k a n d es tr oy s e n O n i gh t i ni ti al l u pp o t he n t ha t t hi s i s o r o f f il m n ai r a nt ic ip at in g t h r ec en t g en r o f Fatal Attrac.:tion-style villaines females. Carol represse sexualit must unleas itself ultimately in horrific acts of violence agains t h m e s h d e i re s T hi s v ie w o f h e a s r ep re ss e a n e ve n v oy eu ri st i i gh t e e io ts an il ic ic io d re s e s d e u re ly , p ea k i n l o v oi ce , h id e b eh in d h e h ai r c on st an tl y p ee r o u t h w in do w o f h e f ia t l is te n i n o n h e i st er ' s ex ua l m oa n a n c ri es , i ns pe ct s a n t hr ow s a wa y t h h av in g g la s u se d b y h e s i t er ' l ov er , a n on However, t hi n t ha t t hi s s ur fa c r ea di n d oe s n o c ap tu r u c t ha t i s g oi n o n in this film Many of th point-of-vie shot in th movi identify th audience members with leerin men, from he erstwhil boyfrien to th construction worker wh er i st l as lk th lk th th lm ls it es to th as i s a se d a n v is ua ll y a s a ul te d b y t he s m en . I n d o in g s o i t h ow s h e t o b e v ic ti m h o e r i t o u y mp at h a n e mp at hy . h u t h f ee li n o f t h c en e w he r s h o ve rh ea r h e i st er ' l ov em ak in g i s l e o n o f v oy eu ri s t ha n o n o f t or me nt e e mb ar ra ss me n an th desire to escape Clearl sh feel threatened by he sister's involvemen with Caro become increasingly psychoti an delusional As sh goes mad, th audience shares he heightened perceptions, nightmares an hallucinations Polanski shocks a n f ri gh te n u s i n p ar al le l w it h h e b y s ho wi n f ac e t ha t s ud de nl y a te ri al iz e i n m ir ro rs , h an d t ha t r ea c o u f ro m r ub be r a ll s o r m en ac in g h ad o c re ep in g from abov on th bedroo ceiling, accompanie by weir an threatenin grunting n oi se s G iv e t hi s i nc re a i ng l d er an ge d s ys te m o f p er ce pt io ns , c a a ct ua ll y b e p er su ad e t ha t C ar ol ' r ea ct io n a s s h r ea ct s a n k il l m e h o e nt e h e a pa rt me n i s r ea so na bl e o ne . h i i s p ar ti cu la rl y t ru e w he n s h r ep ul se s t h a dv an ce s o f h e l ec he ro u l an dl or d h o h a o ff er e t o a cc ep t s o e th in g o th e t ha n o ne y f o h i rental payments. ea th ll th is th il er as i s a y i n Basic Instinct or Fatal Attraction); i t i s i n t ea d l ec he ry , a l a tt it ud e o f lust toward such beautifu woman. Th film highlights Carol' victimizatio by me an tr in er ex c hi l s ex ua l a bu se . h e c an no t e sc ap e t h p ur su i o f e n w h o lf - h i t l a t h e o n t h s tr ee t p re s h e f o d at e o r a tt ac k h e i n h e o w a pa rt me nt . H e s is te r l ov e ha carelessly scattere hi personal hygien item al around in th bathroom Sh is e ve n t ra pp e i n h e j o a s a m an ic ur is t i n t h i nd u t r o f m ak in g w o e n b ea ut if u s o a s t o p le as e e n B y r ep ea te d s ho t l in ki n C ar o to th naked, stripped rabbit that r ot s u nc oo ke d o n a n e mp t p la t i n h e f la t s h i s r ep re se nt e a s c hi ld li ke , v ul ne ra ble an psychicall
F EM IN IS T F RA ME WO RK S
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decaying
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ld ai ed th cl en a t The Fly. That is Repulsion d oe s n o o ff e n ar ra ti v o f d ee d a n i t c on se qu en ce s o r heroin whos action is someho flawed precipitatin he tragic downfall Instea t hi s i s a s or t o f a n ti n ar ra ti v t ha t p re se nt s a n i na bi li t t o a ct , c on ti nu a w ai ti ng , p as s iv it y a n s uf fe ri ng . v e C ar ol ' f in a a ct s o f k il li n t h t w e n s ee m t o b e r ea c t io n a th e t ha n g en ui ne l i nt en de d d ee ds . u re l C ar o d oe s n o " de se rv e h e u f in i l Fatal Attraction-style f e m e f at al e T o b e u re , t hi s f il m i s n o v is io na r i n t h s en s o f o f fe ri n u p a n a lt er na ti v o de l o f g en de r r ol e e ve r theless, it certainl does call existing role an attitude into question in particularly i nt er es ti n w ay , b y i mp li ca ti n t h a ud ie nc e i n w a tc hi n t hi s w o a n- wh o i s i n de e v er y b ea ut if ul -b y
f ol lo wi n h e a s s h w al k d ow n t h s tr ee t b y e xt re m c lo se -u p ea ce ch ha t o s ee m t o w a id t h c a e r i ts el f b eh in d h e l on g p al e h ai r In Th Fl t o t h h er oi ne ' s to r r ev ol ve s a ro un d h e e mo ti on a u ff er in g b u a s interprete that film's gender ideology it.represente such sufferin as appropriat fo w o a n c ha ra ct e w ho s f at e i s b a i ca ll y s ub or di na te d t o t ha t o f t h a l h er o H e s uf fe ri n f un ct io n a s a c u f o u s i n t h a ud ie nc e g ui di n u s t o r ea c a pp ro pr i ately" to Brundl with sympathy an pity By contrast in my viewRepulsion presents ta id abou it It constructs surprisingly critical representation of male sexual desire an ac je ti ca io in is objectificatio to acts of violence an sexual abus like incest Moreover an finally, it suggests that when wome figh back agains such violence an abuse, thei action ma be reasonable an warranted. Bu it does not s ug ge st , a s d o m an y m ov ie s i n t h ec ap e" e, th en ig in ll a ch ie v p sy ch ol og ic a s at i f ac ti o o r b e b ac ke d b y p o e rf u j ud ic ia l s ys te m. ' It ld es e, if it em ti al eo lo al ca e se n lo in an nance relations within patriarchy.
CONCLUSION I n c lo si ng , w ou l l ik e t o m ak e o n c au ti on ar y p oi n a bo u r ec om me nd e f ra me w or k f o p ro du ci n r ea di ng s o f h or ro r f il m t ha t f oc u o n t he i g en de r i de ol og ie s ea is co en em is lo al ti an o rd in ar y M ar xi s s or t i s t ha t w an t t o r e i s c er ta i o r o f a rx is t l in e t ha t p la ce s g re a p ow e i th i t h h an d o f t h p ro du ct iv e a pp ar at u e s o f H ol ly wo od , a n c or r es po nd in gl y l it tl e p ow e i n t h h an d o f a ud ie nc e e mb er s t re at e g en er ic al l a s e mb er s o f o n s oc ia l c la ss . b el ie v t ha t a ud ie nc e e mb er s h av e t h p ow e t o c re at individual ofte subversive readings of films. To speak.of film's ideology sugg es t t ha t o m p ow er fu l a ge n i s d i t or ti n e ss ag e f o s in i t e p ur po se s o f d o inatio an control. This is misleading think, both becaus th nature of th agency in question in filmic representation is actually very diffuse, an also becaus it make
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viewer into powerles Pavlovia dogs Horror movi viewer ar in fact ofte highly o ph is ti ca te d a n c ri ti ca l h or ro r o vi e s cr ee ni ng s i n m y e xp er ie nc e m a b e u c more participator than othe form of films. If th dominanc relation distorte by ideology in my approach ar thos of patriarchy believ that individual viewers, in p ar ti cu la r f em al e v ie we r m a e it he r s e t hr ou g u c r el at io n o r r er ea d i nt en de d ones in subversive ways ea t h e ve n il e se n r o e ma ti c n, a ud ie nc e r ea ct io n a y s ub ve r o r u nd er cu t i t F o e xa mp le , t h a ud ie nc e m a r ea c s o in t e t ia l en et er an xa er D ou gl a e ll ne r a n M ic ha e R ya n i n t he i b oo k Camera Politica a do pt e or s ta nd ar dl y M ar xi s v ie w o f f il m i de ol og y t ha n o wn . R ya n a n K el ln e d is cu ss , a mo n o th e t op ic s s ex i i de ol og ie s o f h or ro r f il m i n t h e ar l 1 98 0s , w hi c t he y i nt er pr e a s e xp re ss in g a l b ac kl as h a ga in s f em in is t a dv an ce s o f t h time.F' They ar highly critical fo instance of th bondag scenes inCat People; thei discussion s ee m t o a ss um e t ha t t h f il mm ak er s h a a n a ge nd a t ha t w ou l d et er mi n a ud ie nc e r es po n e s b y b uy in g i nt o t he i a ss um e a gr ee me nt , t ha t i s s ha re d r es i t an c t o n e w f em in is t v al ue s Y e w he n s a t h f il m i n c ro wd e t he at e i n N e Y or k a t t h t im e of it release, th audience hooted derisively atjust thes scenes That is they seemed t o e e t hr ou g t hi s a ne uv e o f t h f il mm ak er s s o a s t o r es i t h f il m' s s ur fa c i de lo lm te to l ic i u s u c y n c al , ve ve ud en responses. hi
pe n te d ch n i theory ho il th ho ll ef fo ci re di rr lm ld ke to em ha ze at in v ie w en il be e mi n r ea di ng s i gh t b e p o s ib le . F e i ni s f il m r ea di ng s i nt er pr e h o f il m f un ct io n a s a rt if ac ts , a n t o d o t hi s t he y a y s uc ce ss fu ll y e xp lo r s uc h d iv er s a sp ec t o f f il m as it plot editing, soun track, poin of view dialogue characte representations, us of rhetoric or narrativ structures Bu film artifact function within context, an th c on te x i s c o ns ta nt l c ha ng in g d o n o t c on te nd , f o e xa mp le , t ha t t h s or t o f r ea di n of Repulsion av er er ld en po ib en ap pr at in 1965 when th movi wa released We ma se this film differentl in retrospect fo Fatal Attractio ex le ai th n te m r a ck ou and Basic Instinct, r ev en g m ov ie . F ur th er , t he r i s m uc h g re at e s oc ia l a wa re ne s i n 1 99 5 t ha n i n 1 96 5 of problems of incest an chil sexual abuse, an thes migh significantl affect ho f em in is t o f t od a s ee s c er ta i s li gh t a ll us io n i n t h f il m M y q ui c s ke tc h h er e o f f il m r ea di ng s o f Jurassic Park Th Fly, and Repulsion, is o nl y t ha t s ke tc h h av e m ai nl y i nt en de d t o s ug ge s h o s uc h c ri ti ca l f e i ni s r ea d ings ca be engage in an prov potentiall fruitful withou psychodynami underp in ni ng s A ga in , e mp ha si z f il m a s f un ct io ni n c om pl e a rt i t i a rt if ac ts , a n emphasiz audience's critical readings rather than purportedl universa or totalizing psychologica responses. My readings as se of centra question abou films' rep-
FEMINIST FRAMEWORKS
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r es ~n ta ti on s o f g en de r r ol e a n r el at io ns , t h h or ri fi c m on st er , a n t h t yp e o f r e o lutl.o presented. believ that my proposal offers more flexible potentiall illumi natl~g framewor than psychodynami approaches fo constructing creative feminist readmg of horror films.l" 1996
