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Sol Neely

political imaginaries of virility staged against abject tropes of the monstrous-feminine. As Annalee Newitz (2008) writes in a post titled “Zombie Feminism,” “Filmmakers Marcel Sarmiento and Gadi Harel did not accidentally create a movie that dabbles in

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Celestino Deleyto

‘I wrote the script and directed it. My name is Orson Welles.’ These words, spoken by the director over a shot of a microphone at the end of The Magnificent Ambersons (1942), resonate far beyond their ostensible function of a delayed credit sequence. In the first place, to connoisseurs of Welles’s opus, this is highly ironic: the film for which the director claims entire credit was the first and, to many, the worst case of an endless series of studio cuts, recuts and various tamperings with Welles’s films that was to continue nagging the director throughout his career. The voice-over, therefore, becomes the signifier of a ghost, a voice claiming authorship for a text that no longer exists – the original, unmutilated Ambersons – , or the almost real signature of a fictional author. The real Orson Welles was not the director of this film. But then, who is this ‘Orson Welles’ who addresses the spectator from the fringes of the film?

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Objet A(ffect) and Che(www) Vuoi

The Fleshy Horror of the Unknowable Other in Spring and Honeymoon

Dewey Musante

like Barbara Creed or Carol J. Clover—namely, that the abject and affective leaning of scenes like this one can almost always be attributed to the fact that throughout history “all human societies have a conception of the monstrous-feminine, of what it

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“There’s nothing makeup cannot do”

Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup

Michele White

. 1993 . The Monstrous-Feminine: Film, Feminism, Psychoanalysis . London and New York : Routledge . Davis , Kathy . 1995 . Reshaping the Female Body: The Dilemma of Cosmetic Surgery . New York : Routledge . Davis , Kathy . 1997 . “ ‘My Body

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Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo

specific female representations as exemplars of both identity horror and social horror. Schubart references Barbara Creed's The Monstrous Feminine (2003) and its relation of the female teenage body as “a playground for bodily wastes … beautiful on the

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Sharifah Aishah Osman

his willingness to overturn social convention in his desire to possess the girl. 7 Alicia Izharuddin views the pontianak (female vampire) as the “monstrous feminine” (2019: 2); the depiction of the girl here suggests a similar fear and abjection of