'Phallic Panic is not only an impressive and elegant work of scholarship; it breathes new life into debates around the horror film, illuminating the genre's eerie and unsettling power. Like her groundbreaking The Monstrous-Feminine, Creed's new book is destined to become a standard text in the field.' Pam Cook, Professor of European Film and Media, University of Southampton 'Barbara Creed asks the question "what does man want?" and takes us on an exhilarating trip through the Freudian uncanny and horror cinema to provide the answers. This is a lucid and compelling account of male monstrosity which exhumes the uncanny and makes it come to life all over again as something "primal", perverse and chillingly subversive.' Ken Gelder, author of Reading The Vampire and The Horror Reader Vampires, werewolves, cannibals and slashers-why do audiences find monsters in movies so terrifying? In Phallic Panic, Barbara Creed ranges widely across film, literature and myth, throwing new light on this haunted territory. Looking at classic horror films such as Frankenstein, The Shining and Jack the Ripper, Creed provocatively questions the anxieties, fears and the subversive thrills behind some of the most celebrated monsters. This follow-up to her influential book The Monstrous-Feminine is an important and enjoyable read for scholars and students of film, cultural studies, psychoanalysis and the visual arts.
In Phallic Panic, the sequel to The Monstrous-Feminine, Barbara Creed turns her attention to male monsters and what she here terms the ' primal uncanny', 'that is, woman, the animal and death' (Creed 2005, p. vii).
83 Creed, Phallic Panic, p. 128. 84Bourgault Du Coudray, p. 140. She states that some texts go as far as portraying werewolves as protectors of the environment. 85 Creed, Phallic Panic, p. 137. 86 Creed, Phallic Panic, p. 137.
Toronto: University of Toronto Press, 2006, 237. Nicholls, Scorsese's Men, 147–151. Freud, Group Psychology, 120–124. Freud, 'Psychoanalytic Notes', 451. See Barbara Creed. 'Phallic Panic: Male Hysteria and Dead Ringers', Screen, 31.2, ...
38. Roger Dadoun , " Fetishism in the Horror Film , " in Donald , Fantasy and the Cinema , 57 . 39. Barbara Creed , " Phallic Panic : Male Hysteria and Dead Ringers , " Screen 31 : 2 ( summer 1990 ) : 125-46 . 40.
While Creed's deployment of 'phallic panic' in her book of the same name shaped the interpretation of male monstrosity as a displacement of and debt to the monstrous mother, the fear created through lack and loss extended far beyond ...
This manliness as masquerade is phallic panic, a desperate, embarrassing, hysterical reaction to encroaching insignificance. in The Last Seduction this insignificance is signalled by Bridget's successful deployment of masquerade in her ...
Darwin's Screens addresses a major gap in film scholarship—the key influence of Charles Darwin's theories on the history of the cinema.
At that point , the public outrage over Ellis's " designer splatter " suggested that the most righteous commentators had not read ( indeed could not in good conscience read ) the book , that most readers did not get the point , and that ...
For Creed, the twins' association of separation anxiety with castration anxiety produces a phallic panic, a male hysteria, hence their need to 'uncover and control the mysteries of the womb' in their professional roles as gynaecologists ...
some title suggests , is that Dead Ringers is a'phallic panic of male anxieties about symbolic castration ' ( Creed 1990B , p . 145 ) . Creed's reading , while it does justice to the vibrant male anxieties at work , nonetheless , by ...