Jeanette Hoorn – författare

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.

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.

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.

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.