David Cronenberg

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	Barbara Creed has discussed Julie Kristeva's concept of abjection in relation to the horror film.		Barbara Creed has discussed Julie Kristeva's concept of abjection in relation to the horror film.
-	Kristeva is quoted in Creed's ''The Monstrous-Feminine'': "abjection (is) that which does not ‘respect borders, positions, rules’… that which ‘disturbs identity, system, order."<ref>Creed, Barbara. (1993). ''The Monstrous-Feminine: Film Feminism, Psychoanalysis''. New York: Routledge. p 8.</ref>	+	Kristeva is quoted in Creed's ''The Monstrous-Feminine'': "abjection (is) that which does not ‘respect borders, positions, rules’… that which ‘disturbs identity, system, order."<ref>Creed, Barbara. (1993). ''The Monstrous-Feminine: Film Feminism, Psychoanalysis''. New York: Routledge. p 8.</ref>
	The abjection that takes place in the horror film, particularly in Cronenberg's work, places an emphasis on the body and the grotesque. In abject horror, boundaries are blurred and crossed (ie. inside/outside) and there is often a focus on the transgressive properties of bodily functions: defecating, bleeding, vomiting, etc.		The abjection that takes place in the horror film, particularly in Cronenberg's work, places an emphasis on the body and the grotesque. In abject horror, boundaries are blurred and crossed (ie. inside/outside) and there is often a focus on the transgressive properties of bodily functions: defecating, bleeding, vomiting, etc.
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	Abject fear in the horror cinema results from facing 'the other' - that which is different to our own subject position, and disturbs our sense of identity.		Abject fear in the horror cinema results from facing 'the other' - that which is different to our own subject position, and disturbs our sense of identity.
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		+	here I am editing!

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Revision as of 11:33, 29 April 2008

David Cronenberg (Born: March 15, 1943)

Canadian film director David Cronenberg is perhaps best known for his brand of 'body horror,' which is particularly concerned with exploring the effects of social institutions and technology on the human body.

In films as diverse as Videodrome, The Fly, Dead Ringers, Crash and eXistenZ, Cronenberg explores the spaces and boundaries between flesh and machines. His films showcase fears and desires around the roles of science and technology in society and culture, especially in connection to issues relating to gender identity and sexuality.

Abjection and the Body

Barbara Creed has discussed Julie Kristeva's concept of abjection in relation to the horror film.

Kristeva is quoted in Creed's The Monstrous-Feminine: "abjection (is) that which does not ‘respect borders, positions, rules’… that which ‘disturbs identity, system, order."^[1]

The abjection that takes place in the horror film, particularly in Cronenberg's work, places an emphasis on the body and the grotesque. In abject horror, boundaries are blurred and crossed (ie. inside/outside) and there is often a focus on the transgressive properties of bodily functions: defecating, bleeding, vomiting, etc. All of these elements are central to Cronenberg's horror films and they are often depicted as posing a threat to a social subject that is ‘whole and proper.'^[2]