8/2/2023 0 Comments Julia ducournau lesbian“Malice in Wonderland: The Perverse Pleasure of the Revolting Child,” explores the place of “revolting child,” or the child-as-monster, in horror cinema using textual analysis, discourse analysis, and historical reception study. The question of what constitutes the sinthomosexual-and its attendant binaries-thus begin to destabilize, becoming their own form of indeterminate abyss. What the ultimately narrative attempts, though, is an exploration toward the social and the consequences of that journey. Therefore, The Woman also demonstrates a turn toward Lee Edelman’s concept of the sinthomosexual, who refuses the future because of its sexuality. Further, the stripped eroticism of the movie’s “sex” scenes disrupts the normally charged arena of male/female intimacy, revealing a consumption tied to queer disavowal, tied to the film’s horrific (and visual) core. Both intersect through The Woman, who I argue stands for an exemplary, and monstrous, instance of Bond Stockton’s queer child. Exploring both excavated affect and an off-centre viewpoint, the film surveys outsiderness and the persistent threat of abyss. The narrative positions the film’s protagonist, a woman stalking lonely men, into an aslant perspective that Glazer’s movie shares. The restrained visuality throughout the movie sets it apart from the normative fantasy of Hollywood science fiction and the explicit violence of horror, establishing an ironically queer aesthetic through the deployment of what I call an “anti camp” opposing Sontag’s definition of an emphatic and depolitical visual realm. My paper claims that the genre-shifting film plays on notions of conventional artistry to subvert audience expectations, establishing a queer identity that resides in the monstrous. From its opening moments of monochromatic imagery juxtaposed with sparse photography, Jonathan Glazer’s Under the Skin (2013) places the viewer into negative space.
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