그랑 담 기뇰 장르 영화의 괴물 여성: 영화 <서브스턴스>를 중심으로
Monstrous Women in Grande Dame Guignol Genre Films: Focusing on the Movie The Substance
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
This study examines female monstrosity in Coralie Fargeat's “The Substance” (2024) through the theoretical frameworks of Barbara Creed's “monstrous-feminine” and Julia Kristeva's abjection. The research demonstrates how the film inherits yet critically reconfigures Grande Dame Guignol traditions in contemporary contexts. “The Substance” depicts aging female bodies as objects of “visual expulsion,” manifests “boundary destruction” through split subjectivity, and enacts “maternal rejection” via distorted self-replication. Unlike 1960s Grande Dame Guignol films that monstrified aging female bodies through external gazes, this work frames monstrosity as emerging from internalized control systems—self-surveillance and optimization imperatives within biocapitalist frameworks where female bodies are commodified. The film ultimately reinterprets female monstrosity as a complex intersection of autonomy and addiction, self-creation and self-destruction, rather than merely representing oppression.
Abstract
This study examines female monstrosity in Coralie Fargeat's “The Substance” (2024) through the theoretical frameworks of Barbara Creed's “monstrous-feminine” and Julia Kristeva's abjection. The research demonstrates how the film inherits yet critically reconfigures Grande Dame Guignol traditions in contemporary contexts. “The Substance” depicts aging female bodies as objects of “visual expulsion,” manifests “boundary destruction” through split subjectivity, and enacts “maternal rejection” via distorted self-replication. Unlike 1960s Grande Dame Guignol films that monstrified aging female bodies through external gazes, this work frames monstrosity as emerging from internalized control systems—self-surveillance and optimization imperatives within biocapitalist frameworks where female bodies are commodified. The film ultimately reinterprets female monstrosity as a complex intersection of autonomy and addiction, self-creation and self-destruction, rather than merely representing oppression.