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Watching Monsters : = The Horror of Racialized Monsters, Disabled Monsters, and Gender Nonconforming Monsters in Embodied Gothic Horror Films.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Watching Monsters :/
其他題名:	The Horror of Racialized Monsters, Disabled Monsters, and Gender Nonconforming Monsters in Embodied Gothic Horror Films.
作者:	Nixon, Jaynelle.
面頁冊數:	1 online resource (244 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-08, Section: A.
Contained By:	Dissertations Abstracts International84-08A.
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30247812click for full text (PQDT)
ISBN:	9798371979957

Watching Monsters : = The Horror of Racialized Monsters, Disabled Monsters, and Gender Nonconforming Monsters in Embodied Gothic Horror Films.
Nixon, Jaynelle.

Watching Monsters :The Horror of Racialized Monsters, Disabled Monsters, and Gender Nonconforming Monsters in Embodied Gothic Horror Films. - 1 online resource (244 pages)

Source: Dissertations Abstracts International, Volume: 84-08, Section: A.

Thesis (Ph.D.)--State University of New York at Buffalo, 2023.

Includes bibliographical references

This dissertation examines the ways contemporary Gothic horror films teach viewers about monstrosity, humanity, and utility regarding physical embodiment. Through preexisting stereotypes embedded in the cultural psyche, viewers are primed to recognize certain embodied Gothic horror film monsters as people society views at the margins of humanity: racialized people, disabled people, and/or gender nonconforming people who exist in the real world. Additionally, when racialized people, disabled people, and/or gender nonconforming people appear onscreen as non-monsters within embodied Gothic horror films, their humanity is linked with utility and the audience is taught to view them as either useful or expendable. In other words, racialized people, disabled people, and/or gender nonconforming people in embodied Gothic horror films must serve a purpose or perish. Furthermore, the purpose served by racialized people, disabled people and/or gender nonconforming people must be the purpose of a Gothicized monster or a person who is only valued as far as they are useful to non-racialized people, nondisabled people, and/or gender conforming people. Ultimately, I will argue that there are alternate and more powerful ways of presenting Gothic monstrosity on film that do not rely on Gothicizing real-world marginalized people.I analyze several Gothic horror films dating from the late twentieth century to 2020: Tales from the Crypt Presents: Demon Knight (1995), 28 Days Later (2002), Candyman (1992), The Skeleton Key (2005), Scanners (1981), Freaks (2018), The Hand (1981), Upgrade (2018), The Thing (1982), The Thing (2011), Let the Right One In (2008), Let Me In (2010), Sweetheart (2019), His House (2020), The Girl With All the Gifts (2016). I incorporate media studies, cultural studies, queer studies, disability studies, and Black studies through the lenses of queer of color criticism and Black feminism.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798371979957Subjects--Topical Terms:

2122736
Film studies.
Subjects--Index Terms:

Black feminismIndex Terms--Genre/Form:

542853
Electronic books.

Watching Monsters : = The Horror of Racialized Monsters, Disabled Monsters, and Gender Nonconforming Monsters in Embodied Gothic Horror Films.
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520 $a This dissertation examines the ways contemporary Gothic horror films teach viewers about monstrosity, humanity, and utility regarding physical embodiment. Through preexisting stereotypes embedded in the cultural psyche, viewers are primed to recognize certain embodied Gothic horror film monsters as people society views at the margins of humanity: racialized people, disabled people, and/or gender nonconforming people who exist in the real world. Additionally, when racialized people, disabled people, and/or gender nonconforming people appear onscreen as non-monsters within embodied Gothic horror films, their humanity is linked with utility and the audience is taught to view them as either useful or expendable. In other words, racialized people, disabled people, and/or gender nonconforming people in embodied Gothic horror films must serve a purpose or perish. Furthermore, the purpose served by racialized people, disabled people and/or gender nonconforming people must be the purpose of a Gothicized monster or a person who is only valued as far as they are useful to non-racialized people, nondisabled people, and/or gender conforming people. Ultimately, I will argue that there are alternate and more powerful ways of presenting Gothic monstrosity on film that do not rely on Gothicizing real-world marginalized people.I analyze several Gothic horror films dating from the late twentieth century to 2020: Tales from the Crypt Presents: Demon Knight (1995), 28 Days Later (2002), Candyman (1992), The Skeleton Key (2005), Scanners (1981), Freaks (2018), The Hand (1981), Upgrade (2018), The Thing (1982), The Thing (2011), Let the Right One In (2008), Let Me In (2010), Sweetheart (2019), His House (2020), The Girl With All the Gifts (2016). I incorporate media studies, cultural studies, queer studies, disability studies, and Black studies through the lenses of queer of color criticism and Black feminism.
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