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Contrbutlans to the Stay of Fopatar Culture do apt Te Minot Scr Pte Coopers The Soy ist and he Cape egy yi The Pie fos Sask (neta fhe 1s Lain Mebind te Ca Film, Horror, and the Body Fantastic LINDA BADLEY Contours fo the Study of Popular Culture, Numbor 48 ® GaeenW0o0 Press \Westper, Connecticut «London. ass Comes PNAS? He B2aXK 11s er vary of Congr Catling in Pabeton Daa ta nn i nt a Contents Acknowledgments Chapter 1, "The Body Fantastic Chap 2 Chapter Chapter Bblogaphy Spectra fects Postmodern Ghosts Pranks’ Progeny Deconstruction ofthe Gaze avid Ceoenberss Anatomy Lessons Looking forthe Matern The Sone of he 6 Acknowledgments 1 would keto expres appreciation othe many people who have made thisprojet possi Myers eter Coveney and Nina ent, have bron bel and patent. MidleTennesce Sate University provid me tithe for research and writing through Research Grant and @ Nowlosructonal Asigament. The Eoglak Department fealty and ‘ns Frank Gino and Devi Lavery bape to provide working ‘hvitenment in which calla esearch Is encouraged. Tom grtfl fo Ae Canta fo seading an sty draft and for her support thank Rober Racker for guest leering on the sje of ‘iouthicsin my lasers ad for swapping cases aco the disciplines, smesperence hat influenced my appro inthis book. Pr the dens and nergy tht sped diction fenrate, hank fhe Feminist Reading tnd Pheory Groups (Aye, Cate, il Si Sar, il Bye, Kim, and My stants, expeily the Gothic nd Horror clases in which macy ofthat iden have taken nonatross) shape, deserve recognition for ‘toching me at ents mich ar ave taught hem, aba for elpng me {estan foous my ideas {tha student asistans Cada Spivey Howse tv Shuey ftir work In researching and proofreading a aious od thank Bil Body, my fend colleague, and husband, for more Introduction ‘his book begs i 1952 In aleimileal proposal fo # sophomore Lteratare genorl ster course under the general heading of “The Contemporary WordipLtersture "This heading was or Lower Dison Commitee’ nian to davelo sections in teas of particular interest Scenporte sch at Dative Fetion or Women in iteratre Frtechert wel ar student i offered a weleome seraave tothe American Uertare rey requirement an te canon a configured in mes past. 1 proposed “Gothic ebd Horo” a ageaneppeal what then had a te gas ff ‘A the ins the subject meant to mea fe sub tear css of the sinteeath centary fat had no wth the exepion oa Banal of Poe Sots ad Mary Shei Ponkatin, ead, fond memerer of Harmer fis triple fentare driven move expeditions in the 1970, abd the ‘Univ Sudiclase hie 50, images ely mprnte om thildood. My inpration forthe course au horror fz rather ha Fiction) anda tate or camp. 1 Knee of Stephen King's popula with ‘Molensjalthough {had ot red any of hs Boos] eb planed to use ‘ne of his novel ae bat We wuld Ye, sx, The Shining and tater tnteverenthsinem might be pnerte tack into the eal tet, for Tnsance,Pankenten, Dac, Pe, Fanery © Conne Sie Jckson, rane Haft, pape Joyo Carl Oster ‘The arategy worked. Stephen ing and Mary Shelley converted many stent inte reder as several 2 Fim, Hore, ond he Body Fonte ‘hve subsequently tested Ths converson began with the presumption tht most of us Bad come to those texts by sey of fm. 1 Bega Incorporating fim and, especaly fm cps ito the css othe extent that Goticand Hororbecamea crssdepinay courte thatconceraed the ln nterelanship of erature an im nthe making genre. ‘Not srpiingly, Tw conertd nto something ofa boror fan. 1 ‘became intereseinthe contemporary phenomenon, begining with the "birth ofthe gente Inthe pop cltre mnstream and its roads on Folin and aven pare fm and rock are What in the 15st ‘ought to below” or marina entrainment end then cul phenome onbeglning. sy with Mighrof the Living Dead (1968) and culminating {in The Tear Cin Sw Masa 1074 ad Te ook Home ture Sho {i973} had Become ubiquitous by 1986. Hoetor was a bastard: kplan {ered the mea forts iconopraptes, and fort themes snd mtapbors {drew om sources from advertising to Biochemisty to postmodern Dlosyphy Soon it had some more than pent. Rss widerprest Fythology tat informed and constructed mass exe ang people {othinkand speak about themselves and hl felnginpatclar nye. [tyra awl and as ntresng for proc that reason Tn ths fachion I dacovered wat sow lta studen” OF al the popular genes, hore snow paps the best example of transnedia phenomenon. As Nott Carll tad Douglas Winter emis shores “temotio anda clement preset throughout iterate fm nd arin ‘hulnes oe Puente or Doctorow oe wellas Kinga Berga and Flint 15 well as Romero, n Coy and Picasso and Bast swell as John Giger. By the 190% horrors mols ad gvaded msi and mute eo ck Sen's “Tiler” alice Cooper, Ozse Osbrae, The Grateful Dead, abd Ihe meta sock in general theater and the performing at Sweeny [hd Phantom ofthe Opera, Cane, The Vampyr [BBC2), Pranenste, television [ed's Nighonares, USK Stphon Kings Word of Hore, |ALI's The Lf and Les of Se Dl and The Cloingo Joka Nay, [ABC Thin Pats, HBO's Tle From the yp, and Fox's The Fi) Soimated cartoons (Ghotburer, Count Dackla) Bate), gree ‘ovels and comics [atmon, Th Swamp Thing. Hlbae, Gotham by Gath, Boman owe Drs toe (Compose, Sie, The Garbage [Ril Hid Doctor Dread! Food Lab Spider Ack) games and dco {ames the plas an veal ars. On the one hand, became sere. ology of ont overstatement On the ther has begun to erase the ‘oundarie of elif an ft The monsters invaded common ie: so Bret Bestn Hiss Amercon Pho (1990 faghtened off one publisher Sha mimrlsted the appete of nother. a Simo of the Lambs nerd Sere of the best cing of 1991, seeping te Academy Awards and 5 Jefrey Dahmer hoping to urn his itn nto mombies "operated on ‘hem, When they led, he ate puts thelr bodes, becoming he mente kodcton a could nt mak, In The Adame Fay (190), Ada Far Wes Uo), and Nightmare Before Chr [1993 Halloween subverted hristnn By the 1990 ror fms hed overtaken several erly ‘cited ditors bg budgets, ad top ala I the meat a e ‘Siete to dover arund the me ofthe 1060s hore had ‘hang from s nrmrafrming gee tht provided intimatos of im ‘ort oon hat usta ten reales dius “het “horror bron peste nent 1970 abd eat 19805, new and ody Got wcabulary was gobbling wp academic spc. Terms ke ‘Everson shnophonia aro, nd oven dy began to sound as Sonics they were pail covert Alongcame Lede lol's Pras {ior Julia Krtev's Powers of Horror (1982, and Ninn Aves Toma an the Demon toa). Preparing otic snd Horror alongside “TENET cl ey, Vector etre acon ovary women wer I gan to wonder Bow a utnerive ‘Female Geiie rit to» phenomenon cen considered antes the ‘ape revenge fastany of ton Har Grav 1978) and gender siting ‘Chodrmations of Contemporry spell effet, Those konogples Cerresponed in ways that suggested comon coming conscoumes ‘Menowil, the Biudn pyee tht dominated modernism eld {erry tthe post Freudian boty of French Reni, cours nay Scilly Seal repesion wes loner sna cee Sib insted concemed the sence of women, the repre of the feminine and, (mach more reel Inthe a three yo th denial hi cats, eq nx ror eon areal acne “fth boty tht vs Te ata onogrepy of the monstrous 10 Sra the aesees fhe 1980s and to repre the ee ‘In my view oror has become «fasta “body tnpuae” fr our cate wins pers slenncpt hasbeen regi cone in images ofthe Eady Inthe onglng ets of ey tn which the fendered, Bnay sabe of Barooetreburgealpatrrcy price: {Er the Freudian poychonnaytil model fhe efi undrgng Scan. Stn, homered wiser dius of he boty tu * Efe ging a amt ene SE cen an ene an ie ea FESR chetnl wi tcl rg ein ‘Rect anand hngups-h mynd log SESS Sania Salt ne ctl ie Sousion! Dep ne ps ped ut tat popsr laa on saben Asesan noel ich Cae re Scns! one Wo ta Hat Bacher Swe ELSE te fn caren ed "sey exe MuuTcarl ort witin optic ten Se est scl Sra ant yl Sodg cst ths eo 4 Fim, Hono, an th Body Farts ‘inking about ite, defining certain aspects ofa sail ely which the tutors and thes readers shared, dramatizing ts conf, td recom ‘mending sltions (200) This concept of popular texts a "doing work,” Inthe sense of expressing and shaping the socal context that produced ‘hen [mpl 200, ind expecally usoflin discussing contemporary torre "Tiss the rst volume of what orginally saw as one book on hoor fim and tion and thei erourpolinaion nen, and appropriately [Me any good horror feature, ithas's soquel nthe works oe that wi, ‘rer the wor of Stephon King Clive Bake and Ange Rie In hs ‘ook am interestedin elonsipsBoteeen the horror genre ander acoures ofthe tod, between the hoor fn abd calla conte famoog the ocor gee the flim mem, and gender. app the term thor quite roel tincude srange of phenomena toefertoelements Inbal comedy (Bets, 1388), th hier (Como, 197, Sc of he ‘Lambs, 191d csence ito Vdeodrame, 1983), aswell asthe slasher fm [ay th 13h, 1980), ee ftir spit that en ows, gender, o he mosStoiS NEI Harr cuRaION wna implaation of sge-sad mtd Sheer contemporary vock cule children's eed, te ‘ets, or rita theory, consider prt athe sae” perhape even the ‘Sucka nue—under duction ‘iy approach througout thi volume hasbeen o suggest rather han force connections, especially between electronic and prin mediums as they are informed by shat am cain 4 modern body lnnguage (Chapter open the ld of drcusion with an exploratry dointon of Dower in lation tothe body, particu a contucted in boro fim ‘Sonography and appara The nest chapters ave at organ centers five retype or mati | trace from the mid-1970 tothe present the “embodied” hos ofthe 1960s chapter 2), Mary Shelley's monster and dette hideous progeny of today (chap the sado masochist gaze that informs the alas film (chapter 4) the male “hysterie™ whowe teensformations emvlate female body Ingsage (chapter 5), and the contemporary female (Gothic ga ehape 9) 1 ave used « number of ‘Steel perspectives, courses of the bodyfat fll exam abot ou ‘eltconstrutions However caltrel ecm Is dominant i chapters, 2 and 5, and peyhoanaiycltini ls theory and gender sales we lominantin chapters 4,8, end 6 The Body Fantastic HALLOWEEN 1986 (MURFREESBORO, TENNESSEE) Five Nasri aren theaters offer as double features, Aliens and The Py ‘Acampun theater sponsors The Bil Dead. Local and national television ations provide George Romero's Night of the Litng Dean four prime pe showings in lad color added. specially forthe ocason by computer grapes Hallowoen night HBO features Ten Wo, Tonsvania ‘5000, and Ratu fh Living Dod al sponte with atari heres ‘A CNW spell focuses on the historical Dra, Vind Tepes ("The Impaler’, with onlocation footage, Hii hosts MEV until the 11 ‘Also Cooper pectoral, culmiatingn “Tenape Frankenstein “Love the Dead etore they Fie), and “School's Out” [forever “om let On stage Cooper assembles a monte and guilotins hist. "The emctioner dupa he head and ses "The line outside the aut ous sponsored by the Mrfresboro Resreston Department has more asin than silien. We move through mane then rch through primordial oar (represented 1a irenih crepe paper and Sprish mos}, evading the “Swamp Monte ‘nly to find ourelves in a hospital room tht might have Been insted bby «Robin Cook media le A patient, hooked up ow network of ‘bes, eels and step, sts up abruptly, straps apsinst her ie Sspport end collapses onthe ed epentig thie performance for ack 6 Fin, Hone ond to Body Fantastic zou of visor Another dor reveals an opersting arena spattered eth "bled" and strewn with ngs and spendages and oo ofthe tne. A nurse with sledge hammer pounds austcally on the operating table ‘The doctor waves a pry sor and tous Do you need sew hee Taringa come, we are menaced by 2 manlae wielding w chains The sn stp isthe funeral home where we are greeted asobbing mourner thd mildeyed andetaker who urhes us before the open csi {habe by a mania slang and fling cope, Viewing te spectacle ‘rer ourshoslers the Grim Reaper who pons the way tthecemetery (ignited by tree headstones), poplated by « swooping ba, a muy ‘Frankenstein monsey and sever Ircing Romeroesqee eas" 1586, horror was the most popular ofthe mae media enres, and on Flalowotn of hat yea, amide Amecan calle town, some ity mies south of Marble arclsted ste concer tthe gras ots. 8 ‘his night ofthe sis the supernatural was conspicuously eeent, the ithoet nowhere in evidence Te ext ere was no ear f eat ny fraditoral sense bat far and lating of Ie, extence precited terminal dese. The hated house was the harian Body tol thes feed at every furs, covered with fue, canal for call lds {sue aod parts, tortured and resnsracte onthe procrastesn bed of boteshinolgy Haunted houses are aways mane ad pligrimages Ours wea fe womb oom and contained spaces representing equal sates Ut abjecton: the patient andthe corpse were chornprapio dentally theliving were wadead, the dead wouldn't o cout he down the at ‘espe andthe resrrestinltwieledthe same inrament,eamwlcyte Init dance ofdath ike intensity, te rtuals and is myths, Halloween {bse facta tread onardgaphicorclinicel boro hat only incre Ahring the decade. Te ae formery grated tothe supernatural ta tultre ad invested In clnal images ofthe physiology of ease, ‘station mution, and decomposition. Te ables combined mils Sn cena fom th tummer hls Ales, They, frie 1th Po VI, {hd Te Tos Chain Siw Monacre2 Pla recemyavable on iste “ere Coma( 1973, Night oe Living ead 1965, Dewf Oi Dod 973). Day ofthe Dead 988), Return th Livig Dead (1985), Bel Dead (1982) fn Bol Dead 1 (1987, Re nimator 1965), Basket Case (1982, an The ang 1981, Ou of fea rs inhatng ran lar pple: Sndletal candy, pulsed nthe TV ne) ick or Wear ere packed ‘i toparien theaters andinettonliy sponsored activites ta aided back othe years crop of special cost. Mase mediated bovor bad placed loa customs snd een Seren mapain that the horor fim elo xcept dea with tor the th ples araography, ore aneffecs orn increasingly bated mas audience: Rather than Trttinga story the moder hoor fm had Bocme a seis of canes, ‘he Body Fontostic 7 ich displaying 8 raph sense of physicality” and culminating in agony ‘pny (Brophy 8 Like love scones in adventare ins, the spectacle of ‘elect ocnentacyarestd the pot Inari ie The Tan Chain ‘Sw Maser, iy the 1th and Prom Nigh nin pornegaphy lo wt ‘iperfuous and charcer vs ialzed onl tobe cscarde The oe, the rward for relatively tae alesont nx, vere oe the fins rawon etre The lsher subgenre came to rely almost solely on a ‘spense ted ia the asurance thatthe next scene (or soquel| wuld be [traphicaly violent or fantasy groeome And the suspense cominued Tedefntly through as many segues es the market cou take, However ‘dye Tn Mode pointed oo ike the ranges” avant garde lm loo by itletul, th ater ly Fefasd he esr of Stupesiv order or coure PROP ETOP PERE ais mmpemeremged fom te te 1970 and ety 19608 ‘these were the eybepuak fim, a scence, ction, and borer aunbiation whSSe pe ws the organic machine Sade Rarer, 1982 ‘he Terminator fs, 106 and 19%, Allo, 1986; and Raby, 1867, tnd the poteaue ot fantargee fim, whose lope was taafornatlon ‘The woRSGUETIE evoked th beat within Ao (1979), Aeed ‘Ste (86, The Howtn (98, The Corry of Wes 198) sd The Fy tistelmand went onthe te 1900 sd ently 159s fo becore 8 Staple in anos ns asvad In tone and gente as The Wich of Bnwick 187, Boece [986 Zhe Bl (188, Spahr 192), nd Doh Bacon Her 1982) Joba Carpenter's Te Tg (1982, Sm ims Bl Dot (196) and Be Ded (187, Saat Gordes From Bojond (985), and Feer Jackson's Dua Ali (1982) calminated im hyperbola surreal extveqanses whose Waneormations and contr ‘Ws only 980 animated pte or the get fanatic pistes could ‘gual Ae American Were In London (981, whose “te move” ‘ipel belo He undercurrent of Back bum, the werewolf id not ‘Spresent hypermascaine agprenon bt the agony of logical exis ‘lout formation nthe mage end ir ne wat the fs ‘fron center The protagoi' change rm callege student wok ‘ru terete with paral snes in which the graphically ecang orp ois ftnd vst in alte while ting ie acllog suet ‘The moral? Death was & pia, one of I's procemey, and whether decomposing or burgeoning wit new flesh, embodiment asthe horror, Stsagany ao extravagant ato have its own perverse ben. ite Loe te Soro ln treme a goat aly langue” for s clr that pereved Wtf ap poesqucly embodied ed in eestor ‘oatioo, The monsters andthe acterg the Karls and Loa, were Sbumed bythe monster mekerstbe Dick Sith, Rick Bakery, Rab Boting and Tom Sevine~and the eft themselves I ateied spp. Prt for the 1990 remake of George Romero's Nght ofthe Livg Dead . im, Hono, an In Body font to be directed by monser makeup effects maestro Tom Savini, The ‘roton of hoor fangs ves an even clearer plcture ofthe trend Frat) Ackerman’ mous Montero Plana the sole horror fae ‘ofthe 1550s nd 1060 was succeeded by geri, Cnfanatiue, Coe (Gaze and FX allavshy strated and devtedto the technology and tytoloyofgore Ragori'stieslone poke vac" at Brophy nots antsy, gre pantasmagoria fans” (3 "The nmi ofthe 1900e—nol thet ninetenthcetury Gothic proto- \yperwere diellyrepooable forthe contemporary horor phenome ‘bom Horror return to prelate, tomate modes of knowing, and the ‘ema, lleison, and rock concerts saat completely suate the ‘expeiece iting inthe darkened thet, which replicates the den oF (Guopte, we eoenconcer our cule rca, Conemporary borer fiction begnnng with Stephen King and continuing though Aan Rice andthe pte feton of Cve Backer trough FoppyZ Bit and Thomas got sarge apd the visual medi, especially 18505 horror tori the clases of the T980e, and .C. Come. King roupht a "lnematis perspective to the matric novel A he became mint iow and his success was inutatd, che images tat ingpzed i gave fim, with Crepuhow, HBO's Tels fom the Cpt nd Tr fom the Darke the moet ovis beeficares. Contemporary hore fon is ead and oceraros incorporating en end heron, this sar the viet erts with qa gusto, When Anne Re wot neon withthe apr in fe wocks in 1973, sh cls se wae thinking not of Brak Sioker’s Dac, which sb hd never Geshe eating, but of lack and ‘whit movie"amaland 24) In 1985 ic'ssghtecnth-centary vampire Protagonist Lestat tame out as postmodern media event, hey metal Fock singer empowered bythe hested blood of plugged in fans and the [etagemhing power of BET. Rock susie ppropiied horror ts the Ine 197% beginning with Alice Cooper Kies. and One Osborn punk and sek rock fed in 19808 hy called Gothic that niet ‘lube with ames Ike Helter Skler and Theatre of Blood tnd groups ‘sured Cetation Squad, Chistian Death, Megadeth, fon Maiden, The Dead Kennedy, Anthea Bauhaus. As the Gothic wat taken up in popular clothing and lestye, the Splaterpanks, a lose ascites [Boup of weirs drew tharhardbailed sited, ding prove rth, ‘nd ioe situations from cyberpunk ition, heavy meal rock, and eror movies ‘his intermediary proliferation ie nota tend in horror bata funda mental charters. Tbd Brownings Dracula 1981) was ue! heed ‘tthe 1824 pay by Haitian Deane and ram Stoker's Lyceum Theste reading of May 167 Bt otanporry vr Sn wrt Te Bey Fantostic ° leator Clive Barker came o Gothic ton by way of sh svat garde ‘hoster andthe grape at nd soon moved into cinema. Clive Baker's ‘hort story “Sn of Calla (1986) sn part confession ofthese rots, Tes menstr i behindthescreen cancer that abuts the auience’s projected pyehic energy and evotves into eshreating cinema. The story Ets teen costed in the tered world anthology Ser Scam (1988, ‘cited by Spsterink Did Schow and eit a ntoductio by Tes {Chain Saw sirector Tobe Hooper. Ths bbe frm of "splat prose ‘rout the tle of tro nto the posters era "Horace Walpole veal his sn hore’ tenons mot fll fend sia Disney) in the erenon of bis neo Gothic case, Suaberry Ul, Hour enats the formula iacibed ln Edgh Allen Poe's "The Plosphy of Composition of erature as calulatd eect the text wat ‘technological eppeatifor producing unified ners] repens ix {he reader oy, mre precisely, audience. Tn the 1880s orrr id not degenerate” into specie ffecs retroed to it welsprings in the ‘heatizalin the crus sideshow (Stal the phantamaporia show, the ‘war museum, the Tlie da Grand Guigool of Pris (ede, Shall, {hd Theatre of Crclty (Rocket) shoul ell ws somehing tht ie aly sae sual ara Sat op eae" OY Wa rer oe TG Hartwell Introd, 1990, 10, ts history finally Teronstnes how lle thas to do with apn Ar the tor tle ‘Serelped fom ad absorbed the ghost sory, became centred 08 ‘ashosesaland pyle acorn order, site, torture, mains, frmpten Doppelgogsryysntivopy, the monstous. Hounted though evra, Bo wn ls ners phone than thet "most poet ope the whole world” the death of beautful woman (Philosophy of CComporion 55th subject celebrated of coure, by he she le ‘An isthe thea to the boy that I memoreben othe it andthe pendulum the ear basting ster inmenberment or the old man's [Sstorely milky eye (The Tall ne Heat), he arial sustained “ale” and siden decomposition of M. Valdemar, the “premature” burial and materatzaton of Madine Usher and the Lady Rowen, ‘ora sdizease (The Masque ofthe Red Dest’ Jor deformity [op Fret, Tithe 190s hororfwhstever the medium) baceme aspectce fering rot mere teneundence ofthe body but transcendence trough the ‘odyalbeit the body in'a recharge regendered, and regenerated ‘envihrough thoek, anapston ofthe sense, intense fling. and ‘pci less Cit everyere complained that hoor had come Snateatng instead of aaryBy the mi 1980s, horor had change for hon aliming genre tht had oflered intimation of mmaralty ato {Carnival othe perverse type of ant o deep" hoor. Invading the ry Fm, Horo, onthe Body Fant mat art, rors ‘ew wave seme ent on subverting certainty, ‘ent, and realty "The gene Beate speculative a wel extending ts inate secon sciousness explore the ese exploited lence against women in the late 1070s and the sey 1980s and thn, as borer became sbigitous,voloceapninst any ody, against the human body sel os ‘ced imge, unity, snd ste of the elt Horor bad Become more “Symplomat than bof, a Douglas Winter remarked nthe inte tion to his 1988 anthology Pine Bl (9), Direstor David Cronenberg used the fantasti ab way of “ming to terme withthe base things, ke (Seath aging aod la, which weal dea! with evry da.” Metaphor ‘rakes such themes Darel find imponible wo watch fie about ‘len dying ofloukemin” he expsined in 1986." dorteven ink that ‘hat do in my filme is more exten than realty he added “Tot think Illiniatos (in Venere, “Movi” 85). The Fy (188), noed for Its grphic allasions fo AIDS, he alls entre Si" ti Venere, “Mowe” 50, "The monsters were becoming victims and protagonists whote der ence provoked empathy and fesnaion as much as horror in The {1900 Bard Sotorhonds (190), Bram Stoker's Drocal 982, and Intorson withthe Vorgre (1998). “This Is The Age of Innooence/Tive ‘npocene” sang the ero, rock sta, and vampire of Ange Rice's The "apie Lestat 1985), mesg thet mythic! projections of el were no looper believable or neceseay ‘Al our Demons ee materaCal them, Final them HungerCal them War 472}. estat thos called fr is ‘wn snniilation. Demysie, the vampire was almost, for atime, replaced by the ambi whose collet, "braindead” consumerism ame to tpiy the Reagan era (Wine, ned. 5. "The drooling continues nthe 1280eanditelectedina change ‘ottrms, Wertrely speak tor, the erm sein the eighteenth centr to meana refined, ttloctl abd even sie emotion and ts tere tre Hori th prefered term and ndizater «bead ange of medi, Heror' languages vomatn, commenicating on « preitrte, sean: ‘iow lve, Aa stingsiahed from the detective story, in which the Fatonal subject separates el froma the body of eidence,horor de- ‘Sends ito pina fear ad desire. talons of ego im celuliar chaos “a its olde, Halloween, makes ext, horror Is Carnival ad i rooted in taneresson: norma ar invertod taboos acted out, and mee ‘orp i xsbrted.Stpen King compare horror toa eak show ‘here "you look at the guy wit hres eyes or = heat lady oF ME “lei, An when yu come oat you ay Hey, I'm ot ba * [An Evening" 9) In The Monster Show (952), Davi Ska traces its descent ftom Robert Wene' The Cabin of Cal 1919} 0 Tod Browning's ‘eBoy Forte " ‘Prats ade The Morse Show, 1832 an The Rocky Horor Pre Show 3r8. Horr is lo the most plysologeal of genes—with the possible exception of persagrap, Inthe 1980s the Horo faztnes prosaied ‘emcies goes equaeat of Playboy or Hae. Fagora conned ‘Hiavers hard cove spa! with MAD Magasne'ssdoiscem humor, Playing on is oguvalent tranaresions “You can show a much gts eats a long ao the gus youre showing arent nude, eaimed Bab Hcheuce present of apie, In. (Wooley 1985 4). Fogori’s Maising touch was a cover fldet that depicted the monster ofthe ‘month December 1986 opens to Cronenberg’ "Brande ints ial ‘Ratan. As Linda Wiliam suggest inthe foreword t her book. on orseany, Hard Coe: Poser Psoare, and te “reny of the Vise [seat abe is one of several genes tat focus on body spectacle ant overeat, invlusar reflexes soc sus yt, error comedy, ‘Sroorow sei lciding sia low comedies and ‘epi All wrk ty moving bodies of wer readers to sila flexes), As paras inte Zand sulae pense ears fo ae sa sagt peng ened out of you (8) Lis pes, it delivers ison tit originates asa somatic response, horer comes {fom hore, which cefers tothe rit othe baton the map ofthe eek’ vital 195, 10). The phenomenon hasbeen ae ogi nelson n images the body hot evoke the retest posible ysis response. “IS FREUD DEAD?" CME FOST.FREUDIAN BODY) Most scholars acount for hoor in prychosexua terms. This ot api: paychoualjly wih e presumption af 22 epconcious tel ia kono Sigmund fru Sete heroin ter of he ations et evl fear the uncanny hel Snpired by eet images and Speioncen which he subject ecogizs a represred memory fom [Hlthood or an undcovered spect ofthe sell? His eany of “The "Uncaney’™ (19) wae aso, notably, cur fist piece of paychnanaysic (iit, en smtp of EA, Hofmann’ The Sandman’ asa Merary ‘Seo td The dagrosis was predicble: castration complex, Bu ven fcfore Fed, pyeboanayals and dark btereture had an afin Bewucr and Freud's Studios nti, Jou Marin Charo’: wotk in Iypaolom and hysteria, and Richard von Kraft bing’s and Max Nor {Slur studies of odio, mavochism, and erinaliy, Reading back {drouph thecal cse studies i a ost Goth expertence, a feminist tu sew histori studies, Haine Showalte's and Michel Fouts i= Pareto, have rewnly potted out Charcot photgeni Augustine, 2 Fin, Hoo ene Bay Fanase Freud's Dos, Cirlote Bronte Berl Maso, snd Chrlte Perkins Gliman coe in a pantheon of Inger thane Vitorian madomen Pryehoenalyis and the Gothic begin to seem le similar topes or ‘rousreeding mytologies® "his nod to eng occown for hororin pyehoneea tf le cozy, tetaled tings In Lovett’ fctlon in Norman Bates ‘Mother to the genital ard gender bending) images inthe on fn ‘The lourshingo the Gate aovelis he lneteenth ceatry expla by Prea’s“epressive hypothesis’ a Michel Foucault calls the concept ‘eatue oa theenbedtent of sblined scaler. ram Start ‘ery Vilrian mariage together with Oedipal, masochist andlor ho- ‘movrtc flings are thoupit to have driven histo brothel an othe ‘ring of Dac (187), The Ling” vampire the Gothia father ‘tho want fo posse all ghee aa Pres Totem an Too (1919) "Nour gis ht you all love arene" lot the Count stake 312) His boast that “Time I on fis ide” and “spread over centuries (312) bas tlhe been validated by teat entry peychonalyinPeychology ‘plans why vampire, werewolves and tambien, descended rom tbe [inde atl Clie nove andthe 880s movie classics keep coming bck ‘ey are empowered by repression and cultura reeton alo sages ‘wy now, atthe end of the twentieth century our monster Ae =| ‘manfestly human Paychotnalte critic telus that hore functions a dipaced and therefore “safe” pornography te conventions are fetishes forthe objects of sen fens and desires Lie pornography Saber fs (hing ergues Linda Willams 1989, 191. In Deal Pasoes An ‘Anatomy of Made Horror (1985) James Tbe argerthat oro file re cauonay tales end es of passage for adlessens. They covery ‘demonstrate the dangers of incest and implant taboo while proving Safe cues for sexual energy and smalety—for instance In The Boky Foaror Petar Show and Michal Jackson's “Tile.” In Prpostroxs Viana ils of agpresion nor Cae (989,itbel acco sim for mass media violence Beceuseadlesea males who requte ‘suaized agpresion for passage ito adalhoed) moncpoie the enter {ainment market, nas cuture is dominated by vent specace “Like ‘iy tales that prepare the cl forthe anes of separation, the {ables prepare te ascent forthe ane of competion and als of ‘epeeaction’ [tcl 1985, 80, it Twitchell argument sedative in what cems more and more a port reudlan age. Horror slein alee sociation icyou bat ‘we sould also note that ate 1980s Gallup Pl survey fds oost renders ‘popula emotion are women tn ther isis ad ots fate Tro, 192, 5} andthe prevalence of od horrorin mainstream fon Te Body Fentate 1» anf fr To Bsr 197 srowgh Inte wih he ire (576 {nd Core (1970) n ancls rd Coppola's Brom Stokes Doc 252, ‘Mike Wich’ Wi (1950, and in Devi Croenber's venereal images the monsters of the are demysie and daseted: Departing these ‘demographics what da we ako of he tend in which te nen ey ‘host contentehave tacome manifest. whlch suber became? ‘Thins the cae een inten” fll ke The ooky Horr tue Stow, din american Wirewoll i Landon (1981, Teen Wo (1984), Teen Wich {130 "he Compony of Woes (964), Priht Ng Tana 985, 1268, The tot Bos (1907, the Faoween ad Fin the 130 eis, Pyecho f through 7 1960.1900, the Niphmare ol Set eis al he ABC Iniures of Steen Kg (190), These ims are legis cbout Tosing hormones the Oedips compe, eal serial power rape child tase. the "rsa of the foil, seul arwamen iy od men ‘sbeyintcgyneolglmale maces, Vieteriaa sexu repression, nd etunlly tamed See Ofte, ain the Ngan on Bn Stet fercg, Deed Lynch's Based [1978 and Be Vee (1960, nd The Sens of he Lamb, thoy are aegres that probleman pycolory Het often taking the for of ighimaes se in the ella” of the nso doing, these movie donot tly to repressed sanity but instead reflect our tration with eral age and pon a sate of ‘tral bypercmscounesy confusion, and tor As Wiliam Gibson ‘Shapes seal repession a the Victor are suposed to have expe ‘ibe "the thought that we are ourselves sexual bingy ipower o mate shudder and tr pgs” io we i. athe ln widely recognized the fst moder horror mov, Romeo's Nit tf the Lng Dead (1969), the some corpse of woman Wenig ‘Ting bot morgue ket stumbles randomly ato the Wewinde [ttoucng the deena ofthe [Hallywod) bay. "Wht des ey nce the seen rereon i geder confsion and secular, he eof sie Showalter 190 book bed Gender Sef Cato a te Fn de Sick AIDS and eneel ese, ten pregDan ‘ies feminar, the “oss of asc sex scandals (ranges, pains, superstars), pomoraphy, child pomeganiy, ses, seit TRagoge, bral arson rape ics, eal ald obuse pedo, omophtia seal preference fhomo, hetero, band polymorphic the sell coostrctn” of sexuality mass meted sex, tse se, ex {rpower and powerlesines, sex polite Bras emtadiment, Brose Iara. In ths profesion of erates opostonn and antes, of onsantly scrambled yet alvays envepping or dysfunctional) gender odes sts at the shadow rainy sexe (sit was for the Victorians brtsnher its exzovered ler gp somal pnic isthe ter tat made ‘itt Attn 1907 nd Bass tn (1980 locKbsters and Sheer “ Fn, Hoes ene Body Fontase ct Your Touch the apt of Michele Sung’ est ling 1961 atholy ‘22 les of Sex and Horror” ‘The horrer gente astradionlly defined. astheexpresion of repressed seuaity, Is defunct. and postmodern horor has been enerplod by SCincthing le Sema ferorhas becuse pat ofa much larger ansiety ‘oat gente ent, mortally power, and los of contra and Bree 6 ‘Soup with eas, masoctim, and Thanstos in ways hat Fred's “amily romance” wi He for othe chi apd presumption os male ‘ouel, overlooked. The fms of David Cronenberg, David Lynch, and [Nellfordan we crossiseiplinry,gendersabverting body eau for poyehoseaal nse Jods Irv with he Var (194), based on ‘Kan Rice's Vrpire Chronister, repicea pha sex with polymorphic ‘enrality and sndomasocisn, th whole ertcvd forthe with homo- ‘rua and pedophile overtones "The pormadera image of Orpheu's dismemberment dominates con temposty borror~fr iano in Over Son's The Hand (981, Start (Garden's R-inator (1885, and Bre Rev Body Pats (1994) which facie thei clic ofthe hand or body pt ih mind of wm. ‘The splatr ln of George Romero [Down fhe Dead, 1978 Day of ie ‘Deed, 12985] and lve Barber Hela, 1988) make his pointin tbe mare generale apd visual tems ofthe body in selfing ples. In Borker’s short ory "The Body Pllc” 1986), Chale George awakens fo fed his hand ve Ira lef him in a revolt of members fom the ‘aly os a phalecntic concepts mabe the eundpeppy of hie eared ‘profersin, Freud, had been wrong” Chats bewildered psychoanalyst Br Jeudvinde wonder "The pradosicl atsof human behavar it fem tot into thse neat ask comptes he alte them 0" (Barker ‘Body Poli” 86, “Clesclpeycology uphold the reality principe, enlightenment ‘inal, aod loge, The Bresdianayehs, or 50 the popular ‘metaphors bave aleays sd 6 mate lage of the ead of “head ‘locor” end [ead oro] shrners oer * Common knowledge lee redced the tripartite pay (which bas ote ia common with Pato fe Arse than with contemporary scence) to ierarety of payee levee with acre mecheniam of drives nd haat pctre compat ‘bts wth the more curently Poplar vw ofthe mind as "the neural ‘hemial output of our rai which in tan ae viewed a mensely ‘omplex computers (Gnbrel, "Body Wars" 69, Fea’ fundamental ‘Sonoups of ently formation~the Ondipus complex, for example pre ‘Sel the acon fam ast orn tase into But thi orm has teen rendered al bt bene by increasing fe spa, rial monogamy Tinh cont, reproductive technology and gencic engineering, and fein, gay and lesbo, and iil nights movements “Pal waves” ‘whether Freud's Dan Quayle’, can n longer be presumed. ’ i in ‘re Bod Fontestic 16 In The Sacre of Seti Reeution (1970), Thomas Ku propose that evltlonary sent theories ents paradigms, asc conepts trols ofthe way thing ar, sch s tho Copernican srmos and the reudan cg. A tac paredlg inv talan for granted ws pat of fur cull common sense for example the theory of reeesion Ios our ordinary sense of ourselves The radden appearance of ‘Somali signal sprig sf During a bit as theo paaci s {Tepicedant anew one emerges, both are dfamiarze, Tae new teary Sts soome sange fata, wnt tir animueted Into common wedge, The old theory betomes visible gan a snomais are ‘posed tnd the emerging arg comes to conic with ln recent ‘Sue cate for example contadcdons fom within the Freud para ‘ig have own wily exposed Mis Feud Dead” ated the 29 November 1993 Tw magatne cover udeplted troubled Sigmund the top of hisheedepreventedar jigs Dsl most of whew lees were mizing or detached and oaing sey. I cther words Time snnounend, Freud was “rain den,” no longer tcience Utmately the cover sry conchadd, peyhoanslsis ab alts ‘Fisnots aay turnout to be no more rlale than phreacogy or ‘mesmerism’ (Gray, "Assault 5. ‘Sool stranding Preval boprpher Ptr Gy, ogee that sreolan poyhology aot tssnce buts belt system phuesopy tren in hed History of Somat, Rosealt deconstrcted Freads Sfegessive hypothesis” enplining seruailes us socal contacted “disourses’ th a grammar of prohibitions ciation, and roles Papehounalyl replaced the decor of medieval Chistian: the al ‘wih te ep the enfin of sn with confession of desire ad asa. Ute pret wih the payin Pryboenalys scoring Foucault, {2 bot a theory ofthe eset reltedess ofthe nw and desir, and technique for flieving the elects ofthe taboo where igor makes It pathenogeni” so 129, ‘Since the 197 payhoanalyss has mari ptlosphy been elimed by Lean, and ben revised by paychounalytic feminism, French Fei ‘lm hia the emphasis fam sil pallocetrin to the polymorphic preOadial rom the "reals ego (dominated by ‘the demands of Feat th mre ego whieh governed byfanty” [ros fom the intralaed pyehe and he symblt the magna aed the Mother's body Toe Freudian model har ben ducted. and reson ltructedby conmuniations theory, posttructrais, Marais, and ieeinst theory pstnodern erate the mass medi; biochemistry: and har” payhology. “the sare of popular nd adem resonsructons of Fred indcte that cart fa @ post eudlan era Thin docs ot mean that Freudian encepte hav et infants Bre’ ich panoply of tapas forthe 6 Fm Hower, ncn Body Fanta ‘mental fe as evolved into rometing closely resembling common Knowledge sepors Pol Gray [Ase 49) The Fadi motel conta ts to provide the commonly assumed concep of thes the pyehic Teves nd dives, the unconscious, and soon. Now more than ever, psfebornalyisis popular myth and ital. It fuplonng vocabulary (of the self that Includes the ego anil go, repression, with resumptionafs hidden or unconscious sland subimaton, orinsance ‘Group therapies, callin radio and television shows, sexual abuse ir ‘or stories sa-belp books paybeloial profs of ser lr, and {he iasnity pen est on poplar trasatons of Fre. Aa all interpret ‘hem free. In simi feshion, Stephen King calls imuel a Freudian “opportunist more ily to se the theories to advances dea han ciherise [gen Maistale, Second Decade 4). Preudian, Lacan, French Femi nd Janpan ia are mie withthe saihelp mythos sd New Agemysticm and recite, and the mitre religion fo ‘sacle nari age Inthe 1080s the hoor genre contrac he primary cons nareatves and tual fr that eign the best within, the doppsiginge the psycho, the vil maa, lner eld, fral woman, ‘the abveod il, the incestuous fate, Satunle” abuse the lie abdue tionimolestaon naratve, the dream work, the totemizaton of the Aerie father In the 1950s the hysterics narrative andthe therapeutic ‘ross tulf has bogus to unit mt rope, or detrei ‘As adapted in the mass mo, Peud Is ubiquitous and, a he same time, nearly unrecogiale. Through MTV andi influence on Hol ‘wood fim, surreal once a province of modem andthe want ard Is become pop at. Beyond pop psytology,poychoanalys provides zystery mane, and proud slenoefntay in aovel sich ae tpn ings I (1986) and Geals Gare (1982) and Bins suchas The Prnch Lieatnants Woman {3981 The Swen cent Saton (176), Lovech [2965 res Kil 1980, Boy Part 191) Prince of Tie (1981, ral ‘At 1982), Rang Cai 1992), and The Addams ary (190), These ‘eats uentmentsdemysty and revolt Freud snd his tenis to he contemporary scene. In The Seen Percent Soon De. Freud meets ‘Sherlock Holmes and teats im freocane ton. The Aan aly is fll of pst readin allusions, especialy to the concept of eispace ‘ment, andthe fl makes ts overt apeal aa transgressive fanary. The ‘realy principle replaced by the pleasure principle and projected asthe ‘characters andthe viewers shared worl In Fal Aas [90 the pejchologt ix duped by Ais patent (ho see Preadian concepts 10 ‘aniplite hi] and har ster who seduce and then wes him 0p ‘insanity plea. The flim opens in seductive eppeal anata for tbe fryehoenyc scene: the cove, the chal the foal) therapist and emai) bysterig,wansferene and counter transference aa resented ‘Te toa Fonte ” i the simpering sf focus of « Harlguin romance. Yet peyshoogy is ‘ay manipulate and equally bf Tnrecet hora tet peybonalss often producer symptoms rather than proving dlognst, and analysts ere portrayed a nec naive sd manila in Binet (1982, oyholopt ad enol a erature and psychology doable jor are the femme atales and prime suspects in an eepick murder case, and er professions are Indeators ‘(teeta sil in taniplating men, Practicing payeholgy equals Dotng equals wing con equals murder Here alin Dresed fo. Siu Wet, aug Ca, apd The Sens ofthe Lambe eyo 0 Tonge itigusboeror instead Ju Halbert aces of th Sim, "tis the horror” "generates horror It founds met bse fanlasee and demands their enactment” 47) Tread half predict “nnbal Lecter the ucanaypoyboanalstandcanibal whem he weote that he “would not be surpaed to her tht pycho anaes, whichis onceoed with laying bare these hidden forces, he elf become un anny fo many people’ [The Uncanny” 23). The pyehosnalyt wo 'Sthe“pyetat has become pope ope ad trne a Sevatting wit tan the md doctar genre in et rom Dressed to recent sterpe Usons of he Jack the Riper my, to The Sens of the Lamb. ‘The bourgeois amily the unoonsclous, end repression are myths or tropes aw tinted by Cc, ostagn(Fna! Ani, parody ang Cain Dea Again) ost |The Aue Rly Adams ay Vue, “The Trescan “family romance” at the ear ofthe Gothie novel tld Increasingly in body language and with reterence oscil nd sonore enters. fas House onthe Left 1972), The His Have js (197), The ‘as Chain Sw Nassace (1574), Paves 1889, American Gethi[987, ‘Mom (988, and Chitvon of th Cor 1984) were Cn witha materia ‘rig ofthe family As in Bret Easton H's novel American Poco, ‘annbelam tod for consumer culture and a powerdven economy Ta ‘Mo (199) an Dead Ave [1992 a ave young man's wet old moter ‘bese els eating monster, the Devouting Mathes rained od with ‘eraing population in mind In Bob Salata hori back comedy ‘ares (198, a allusion othe pil seme ite Michael got out of be and walled in on his patents ewes pate 1950s ype perfor Ing blondy ital onthe Eviag rom lor The fim winked krowinghy 1 viewers with nightmarish scones and "revdas”cue only to eur tothe fact of predatin—tonercen ling sets of are “ras bet Sot ‘was a metaphor for oral aggression rather than the reverse. The wlimate Invareame come tus wat A Nightmare on fim Sst, where rey races srt of Sandman in revere, reaiedtenager! wort ey Instr badly language. In contemporary feta fom the Npnare ‘ries to Videodrome tthe television series Tl Pea (1990-1), Toa ‘ecal [86,0 Candyman 1992), pectators parpate with ossreen " Fin, Hoo end he Bay Fentoste characters in generating consensual hallucinations tat contaminate or Strum the real world: Thefantsticis not a symptom of pyehosextal {yshucton bt of soiceconmie an eultural alaie OF he fntasic 5s viral realy, as prychounalysis Is tuned completely outside ou, postmodern sje rend’ crc se now viewed and tight] not a peyehology bet a= social istry gender sto, detective ton, “Female Gat" nsrate, Sind moder leratare The sath eit af The Noron Aon of ‘Word trae 1092 nce “From Dor’ [\ Tragment of an Analyis ‘of a Case in Hysteria atthe Ht of i Masterplacs” of modernism, ‘anoning it as Ierary clase. The Insouctors Guide encourages teachers to approach tas a“novel with a given cast of characters and frstpereonnarstive pont of view fac, he coaveatonal ‘unveliable furaoe' (3) Asin flee Chou ply Porat de Dor (176), the (exten sory of power polos oxeleprension, and betayal-the story Sf The Degher® Seduction, to quote Jane Oallops tte f 1982. In 8 ‘ostFreudian contort the pyehoonalyse medal of the psyche and ts Enmerton, the repressive paths bas boon syplated by “Dora” ‘Sd the hysterical medium el, the ertogenic bod Feminine fous on Pea’ enka experience wi female hysterics, sing how the pathology of hysteria e“mplicsted in peyehoonaly: “thessence enfidtbe crease wihinitandisconatatedsimulanously ‘wth ite ptbologal strony (eraheimer I, Payohomnalysin, Cather Ine Clément suggety found & confessional and theta form inthe Ingueottal which provide s spectacle of “Poses” women for fale dienes (Shower, Role Malad 151-2) Chareo’s lial ‘leaned’ were sed ins snlar theta and may bave set ‘precedent Yor ely einer. Prev tefered to Charcot as arstealy [eda “inl seer” (tin Showalter Female Malad) 150, nd ‘Etarit photographed and entegvined his patents in expensive pons That com derived rom contemporary painting often spacing getures i 1 racceasion of images given a parrave meaning [Showalter Fomal ‘Malay 151-59 The camera wees important ote stay fond concep} of Iter mach as the elesope was to asuonomy, but Chroot’ rebance 1 images ltnately undermined hie authority at 2 sdentt Women| “rere photographed ain and agin, some mang “arts” of modeling Forespiam tures Showalter Role Malad) 152, Bay pyehosnalys ‘cording tothe feminiat equ, was realy pychodrtaa ending In & ‘owetoping slsre The tlling ear’ meen ecoting and ance ng the hysterics embndied text ito language “proper the Imaginary Info the symbol. The talking eure privlep sound sn engage. Bat movies feminist flm theory and pop Freud, especially the eltheip Industry, have largely replaced the peybosoalye proces nd model at ‘he ego wt he raph, volte Gothic ween a which tbe male subject The Boy Fonte w (mind, gs inscribe visits, decades and maniultes| the female ody Fowrault (Madness and Cllaution) and Showaler (The Female ‘ola egue that madness sa rope, a marginaling label onthe one band and for he marginalised) ancora nada bythe opresee. ‘These acing hep leading back othe "Gol" Freud and is atrial texte tote nly tern bysteri, hypnosis an regression, oe hysterics body langage and, cel, the male tbl shock ii, to the Vicrin ad postwar eenes toa pathology based in bey language. Decoding and revising that guage, feminist 0 release he boty fom ts iseipons is doing, they have wenkened the Freudian eifice perhaps even smote thin they intended, One popular adaptation of feminist pyeho- ‘aly is the incest arvinor nate that ha oct dominated the ‘elf bok marke, Hen Base and Laura Deva Phe Courage fo Heal (0988, Laura Davis's Mies Hoang (1901, B. Sue Blume’ Sort Suv (199) and Wendy Males The Sea ean Journey (1981, all presume the conept of ys, ncurosin repression, and regreston [A the sme ime they ignore or dsr the Oedipus complex, with ts Gophase on fantacy and return to Freud's ealer Sedston Theory, ‘whic assumed thet memories were of actual seduction Inthe 19905, ‘Sceouns of itl abuse alien sbacion parative and accounts of False ‘Memory Syndrome (Lawrence Wight Ramembering Sato [1991], Mi ‘hae D,Yapka's Suggestion of Abo (199) and Lenore ers Unchained ‘Memori {1994 compet for attention. The colic suggests that tr od {ale menoriesexnnot be relablydiingisbed sd andemines the caibiy of pophomnapis Toes survivor narates invariably refrus tothe by which they ‘make a orcs In January of 199), afer surveying the curen erop of ‘Incest survier books reviewer Carol Tvs concludes that ther message Is simply“ you feel based you were abused” (17. Symptoms (ere ‘ct thang ting dora air sleplenaeat,depenin fol ings of powerlessness lnk of motivation, perfectionism, low seesieem, sod pater of vtinition are at experienced as “body memories” ‘Thus the “survive” is aught to trust er body over er conscious smemosee othe words of the parent Her body remember bet. Alleged {ces victim Holy Ramona claims hat her memories while unde th ‘cram’ odiam smytl) are “reable Recrase they My memories. ‘Theyre me" [Dateline NBC, 17 May 1936) In this scenario, the body ‘cannot ie Bul the body doe, whatever “the body” i, a adionl peycho anaysni the lf plat out. The survivor native fleet popular betapbor af the ody Hera an the mind as a camera oe tape Ycorder (cr compute sys Tre event we resodedin cemory abo tnt represses them unt they are eleesed by «ew Wau or the therapist, 2 Fn, Hones, end ody Fanta ‘his concep, which comes partly from pychownaysis and party from Poplar metaphors ofthe ind af ache inconaent wilh Curent vest into mezory tat revel the rls ality fo invent realty At ows and novela fang Frew Rinsl?) have pointed out, memory I "e roca that constantly being reinvented” liv 18, red may not be dest, bath greatly altered A competing therapy fa New Age eptation of Jug tht ccurvents the Prevcan pathology hd terion, tesingindvdantion though story teling. role plying, Sid peojeeon-in Cars Pinko Ester" men Who Run IK te ‘Woes (190), Linda Lenars cig the Madman 999, and Robert Blys ion Job [193 The most resent novels of Cie Bark and Ane Rice draw on Nicischean and Jungian modes, and the fms of Tim Busta employ an oonograpy of animal mass to "Unleash ha bent [Corkes "Bate 7), These payholope ew a individual in lation {Garshiting muldeutral calestie and a gender troubled perspective Nev Age unganiemrepetents an exroversion of Fresian seals It tmphaszr storyaling a0 historical conmoction and sl creation over ‘SiBkowedge td eational contre There eno cena slo know bat Father a potential ele develop or express "The Freudian edifice Se rumbling. andthe shock waves are Flt throaphot the dacplines Oven Pangan wars “Lend clr could survive he demise of payehoenlyibutnataswe know them (Plaga ‘What i left What psychoanalysis was funded in: the unconscious, ‘he legacy of mye and dream apd the eum war isl the genes~the ‘teste sory the Gothic romance ond fanny tal the pathenogenie ‘rea, the Freudian body the boy fants ‘Wilts Patrik Dayan Terry Cs have in separate studies sugested thatthe Gols perpective helped being about the shit bythe erty {ented century from the Neoplstoncudeo Christian model ofthe toto the sour cncep ofthe elf asthe reuan payee. Inthe Ciel f Fear end Det: A Stud of Goth arta (1985), Dy argues that Gothic Teton precede Freud in creating a new concept of an inner ie ‘reuniting in fton what Frend would ler represent in Kea an al Ferenc Freud himself acknowledged hat The poets and pilsopers ‘before me dacovered the unconscious What I dlcoveed was the sien tie method by which the sncomcious can be teed” (gt is Tiling EE) By giving forms to what Proud would cal the unconscious especially in the drennightmare narrative, Gothic Seton tng people fo eed ‘urea thi dreams, preparing ther for pyehoanasis as «proces of Interpreting overdetermine ant iplaed symbols (Day 17790). The Gost retin aratve subverted taditonal nea structres ands. stituted Wansformaton end metamorphosis fr esse and effet, The ream work thar tecume recognizable genre, pe of tt, nether 2 ‘ntation from the gods nor thereat of oor Sgeston. The etre at ‘he Boy Fontostic a ‘he Got enly east readers to take everthing symbol. ts) Inmate pl.» comes part ror our sens at what we oo ere ‘presenta someing in ourselves ey 180 ‘Smiary tm "Phstamapoea: Special Tachology and the Mets orc of Mader Reverie" Tey Cae (1988 trace the infloence of {nag lane shows and spectral photopapy (he se of soperinpned Imes and other special” eet repeset the superar othe ‘tory ofthe inagsaon. The phaniamagra shows a the lt 800, inv sae the fr movie, provided even” ofan interior ean ‘Schaal metaphor forthe rem ingestion bd > Jesus ht Fred eventual bypeteson. Got fantary provide a onopapy, proces, abd a mystiqe for the pops netandig of prehension the on the Nevplatonie and Judeo-Christian sult the secular model ofthe ‘rye Feud nism dso te igstcance ty the Nin the Preudan model smnowoed the removal af Ged te the Judeo-Christian serptars from he ltr, tote than commenced by aking the “ured se fant. One's nner. "ee” self became the Stcred tex fo be sted ated inva and consid ides the ogo i challenged and red cmperble sit has secure fem the Prenn pnyheto post Peutian bay fans the froduct ofa meena, put ict lctroni, mage bated eure ‘Eotrer announced cri the 17a obsthroagh nagar ts Uses mpces and organi aches eral mats tnd rege eationn Horror lo provided the cri with on conography a anatic ty langeage fore taping the sel har ont to our erent concep fen ented sl popsing popula metaphor ie neon ‘chun exiertal read osc course theory postmodern Mara ‘sana and panic theory Jngitn pelos end Pench Feminism, ‘Wat ithe nls “preposterous lence” an arte "be faa? ovis an ionogrphy for a mode of the "sc at is, above al chee | THANATOS AND THE DENIAL OF DEATH a Bow the Phasire Prince Proud himself recognized one area where Bie payehoonaaie was proféundlyIeking® i has ollered no Djhology of death and dying He nepletedThanatos the death drive, ‘uch as he neglected the feminine Imp in hs stance was denial Tires Becker {The Denil of Death, 173) snd Sabet Raber Rose ing ih Dea and Dying, 1983 were among the ist popular pilose ‘hers who ined that ais had ecoae he tenet centy tbo Sd or last frontier, Taken togetber,Fousuls texts suggest tht ay "deve" as boon represod, is Thaatos. Death for "mest people" 2 ‘Fi, Honor, and th Boy Fantosic remains hidden secre, as eoiiaed as fare, sys physician ‘rte Sherrn B Nan in is besten book, How Ws Die 984 3 ‘Modern city lia bles tht you don thaveto di that mediine ‘hou be able to sontch oa from th ego the rae” (Mulan gn May 47) Av capil and technology harnessed "io power which Freud hod hlpuly cll tio, Thanatos Became nonpeeductive of ‘orb andthe tras taboee became sadam, masochism, necephi, ad ‘The oter face of denial is sta parnol, mass mediated somsl terrorism, and more generally the cultural obsession, in the geo AIDS, with sexuality. At atime when pare snuloctve, pleaurale sex means ‘eat, everybody’ ae ond sexual preference i everybody's busines io fn olborted with Partin i his removal of death, ih ts tts a ital of the body rom pubic wew. The shit from sper ‘ntl fern fo ower By language otk = symptom ofthe ‘epremon of Toate and a vebile fort expresion "Tht repesion began, fraser Kenrick (198) i concerned, inthe eighteenth centry, When the family graveyards and county ‘harehyrds Began to dssppear th “graveyard scoolof poetry sn the ‘Getic novel sprang from the ais of hllowed ground he bereltary ‘ks sytem, and the spraran world [Kendsick 1059) Once intimately ‘Snneded withthe feof the community, desth Became parted rom life by media technology which confined io the hospital and the func! heme, Death betaine unmentonale save asthe enemy tbe Fought and overcome, By the 1980 "whole generations (hed grown] UP Tieving tht immorality was the general rl swears Barbara Bhren ‘ih, “ect for those who bothered to smoke [Ulimate Che” 5) Popular elle contributed to the moder Western denial of death by packaging deth au vslence. Ins 1976 can, "Toe Cal, Bright Chars [Clnamortaliy” Micha! Acen surveyed week of television, noting theefeences fo death or dying He conlade that, according the mass ‘nadie did ot ie eaept in ures, o a Rangood,o with Bank {ces na gunfight (20) A ian ina western o ein fin which {elas waurghtover rong, dled bzodls or lmorous token death Inspolce procera nd detective genres corps asthe television series ‘stapes ae spparalus bodies oferidence, meters! csesand orn. “loonce dierent rom dst, even sheltering usom thats, det “crpeienced as en inevitable, paral proces, as ying Asien pointed out > (20, Then slong care Stephen King whe, a Willan Gibson has pointed tt calytaneted the central obscenity the dark under all ur beds ov. “The growth of rrr pa and private experience Waltegendrck (1901) sugests hat ox ‘rom death is "just one aspect ofthe overall tidying up that has been going | The Body Fantastic 2 om in. Wester cate forthe Inst two undred yeas fr, acting ‘lective hygiene wate dion and the banning of dor: That had ‘enter though the bck door dominating eonographies whe mafest ‘ibject arith Horor scene Sto eet confusion about nee ‘Sapien nthe fle of David Cronenberg, the “netamorposing or Iaternal body became 4 metaphor fora monstrous futere snd forthe ‘eat ofthe eg nthe "New Flea “bith always pln character in Sturt Gordons 1985 ln Re-nimstor pu ad i the 1980s and 1970, bith eas demonic or deadly nfm ke Roman Plash's Rowemany Baby, Laney Cobea's Tet Alve (174), and even Stanley [uric dnembosied fetus nspace in 200! eal end phalicloking ‘Sens burt fom the chests and abdomens and heads of woe, mh, ‘and enimal ving bithtodeth in The Thing 1982), Aon 979, Ans (N98, Alin” 952, Racket Cm (1962, and Pom Bond (985). The fart, rave, maw, and webs brought fort bands Cur) and hoards ‘tundend, even in mainstream video [Trlr an fm Rang Arson) ‘Thanaos erupted with subversive ii Honor peed to spel nooein children and adolecents, who bad toconront what they reper and feared as "monszous" in tslves, peyhologit Bruno Betelhsm cited in The Use of Bachar The asnng ond portions of ny Ta (197) Vilene, grotesque and death were present tn th orl folk ales now known as “chiren's ltermare for therapestis reasons. The fantare of Tim Barton reveal thei arknen in creasingly tubing ln“ hak people connset ‘wth te dark staff because that's te way i realy 5” Barton state in Snintervew in 1992. In ker cures death smack mores part Me, Is uch more escaped... [fr American clfure deaths such abo" (gttsin MeNicbt 8) Baron's work from Bsn [188 rough the “Sek” Beton (1989), Huard Sasorhands (980), end Babnan Rotors (3982) adres nd rdrested western materi ature’ repens (of Thnstos Inthe animated Sn A Nighimare Before lestat (995), ‘Tanatos erupted athe skeletons deniene of aloweeniand dow crodand tok ove the ich myth and materia rituals of Chistes Burton {hus neddod to hore’ inion ofall the popular as a well asthe feslng up of Ullween over the lst venty ears Horo, Burton's ‘Slegory Suggested adeses abd tempt to fil the old It by “the fading prevene of religion and tbl autory” and need for ctr ‘rata ich placod"deqh whereitbelongeespatofthecontinious ‘lente syle of aman ie” [Aen 279, ‘The mde fear of death | ery diferent from the primitive fear of the dea, Walter Kendsick points ou. Oler cure feted the dead 32 engl pits that could ede with through specifi rita Beoae "rounded in beet and ral thee fey could be asad o sbi od But modern howroe thsi sae from "worm oot pate u Flim, Hosen th ody Fertate bout a heaven nd the afte” (ends) The for ad fasion fencas ack spn verge roherit:he oro of sein ‘ibe onehnd and of he poster eth, on oer Te a Aewors dea ahermat ccmpton eee peer Keack 1991 term ean To Te Boh of he ie 5, owe ‘Solr th hire momenta which deth bese no oper fat imate eweat ut teas proer eth dma and it. "The ation of the i fst an i ae Sete tay single cocrpio sala an ‘ermal or ential He es bps odeampoe el al eyes Thee ding tps tis. "Sop Lt the vei et in ap opel ie ce Jnhiscamval, Barton allows manent cl moumnieg fr ainstnce Ga dienson, the gh of which its tough esaesing fe aes oe ‘eh characte fn eyen Otis Beelgeate theater nthe deck or clement of feed hat lows {he Mains to sie power an vital rene emacs Fo tae 1 pouinoder vita the Maan con xn anf oes hee tn or doure wal pec eA gon of dona they hae an act bjs pte, Decrpased pr” subetslcking in objets exons, Mus is i at ‘pace, they lear to amen homely at fit Sse ne ‘pesrancin designer sets anthrone tht voce thee pect {henodvesin gotenuctrndomatins Alan sprouse Bark ged Lire and eels one gr Bae inpods her ace coe ing Wino oping moth om whch er eyes: tossed oer Py Fir, Hoo an he Bey Fonts tongue, ley pos, By the end of th fl they are welcoming changes Ile and aupt dotstion essing them sxopportunis, and create Channel between dimension all o save the child frm marrige to Betlgeuse—with Adam driving oy cr up fom the model and Barbara fing sndvorn up etn the vod to burt hr he or aly. ‘They have cnsvered he fant aye madi. They have entered postmeders vitality. ‘Butitfnally takes Beta to turn the ck. In hs penultimate sree of manifestations when La calm forth save the Maids, ing ‘pect fom the table lp semeery, he umn everything op a "Show ‘ne In hn the ghost has become a human arava, smplte with tents merry ound, ail nt idway. and barker, the medio | ‘ots human screen, His arms ol oat ke New Y's party faves ‘ouing oo in white bu in suseve, inflated salts With here he ‘Sada te Dee's laner gusts terllythrowph the cling when Suite iterlaation of ent 1900 cartons, they Fag the bell. The {error and eslaration ofthis show tine the Mad Hater eine, ‘Snes foe iemageeon of torre and rele The ghost teres by ‘lapang “the fil and cherished itinesons” between son and ‘ay, eye Gillan Bs, by creating a pp Inthe li ofthe el (25) Tn epioing space anime, Betelgese perfor ths function, creating hana forthe Maiands hus te denouementtheyarebock where ther started, redesrtng the houre according fo tei vision, propery tng thrown house at st Amani, desonstrstv persone the inal, etlgrne san stand for eettnrpbose ts power: ei thofigure af th agent. Through his agency, Lyi shot, and peters se “plunged ll at once ito the beat af the fans” [arr "Arn ‘ndab'" 6 While Betegeue himeet sexo the waditlonl ghosts ‘Sumph by taking on i devotee, metamorphic powers becoming hoe maker wel a ghosts, i a well superego, enabled to aler eal. His powers, while under ter con predominate othe end Betelgoue and Beige th in spy the sate thing the medium at ‘onster end sth spinoff Bote eleison carton seres plats fut mane of ceremonies, Betelgeae i Uke Pry Kracgr or Hobert Engl [shines Freyin Wr rors New Mghonare, oF Burton ‘wa Ed Wood or Burton hinuel, who confesses to having" preter. ‘when peopl se somthing rel orale. or normal or abnormal. The Tenting ef tho words formes very. subjective You dant 0% | ‘whats el and wha’ not el anymore’ fith, “Punching” 58 euevel In Bose, we sare the perspective of the pretegoists who Ik the ssonymous surveyor of Kafla's The Cate of Grepor Samsa of The spectat eoet o Metamorphosis are themslies fantastic. We become literate in thet Inngunge. We are swe slongthe current of liding perspectives eles ‘oui we go. And rm Bolu trough Deh Buco Her me bout the supernatural privileged tis “phost point of view even Jerry “ack s Ghat (190), 2 moves saccharine at Batu srdonic ‘The filn’s promotion! ine was “lieve aad thee was no question of not doing it Seeing was believing. Specators bared the trl of exising 1 "pore’ daerbodiod subj rom te opening cei sequence ef Gh! ‘which as Georgia Brown of Vilage ze notd was "cal than anything Inthe movie prope”), the spectator enjoyed the ghoa's powers and ented with fs tatoos, The camera moved ae If embodied through sang, huey shapes, suetng haunted atic or Tong aba ‘toned room srouded in drop the. Te ere score aba sein ogy Panels suggested fantasy spice, with borders fo be violated, Suddenly rathing trough the cling ofthe lt appeared fo men and woman ‘wielding sledgehammer. ‘Sam West (Patrick Swan an investment banker, and Moly Jonzen (Deni Moore), craic, brea int the spectators pete spce nd ee ea ake rom fr them. An esl yup couple, they are ‘erning the at into sated alin, rng syle and arte boundaries s well as distinctions between spa and mate was. ‘he sao Uf, the Sal of the eat. Sam and Molly, es Brown suggests, ve vt marvelous physica speci” And in fe Sam's body his fiveged medi he acrobeie stunt in which ape wings Ot of igh window to rescue the dangling ange san example—to the extent ‘wheres physi ab often s ari fo communication asi 8 ‘modu. It has provoke his mani problem: be can ‘make lve" to ‘Molly physically but he can say the word rlove you,” ich meas 8 “spt” commitment. Simla, touch for Maly as ceramics atts het primary sense asthe theme song, he Righteous Brother "Unchained [Melody emphases inthe Ine about “hunger for yout ouch" Mays pote’ wheel and lay become metaphor forthe experience af the lsh [oe scen in hich db and Sam sare he atc experienc of shaping sd caressing the cay and then ech other. ‘When mogeing incident enginered bya collesgu and “end leves Sam ded before commiting himself to Molly he bas to ear to Break ‘rough om the ber ie io niet Hel fo toe vigto come In the ontlocal sense. The film fooues onthe eto loneliness, et power of the ghosts ontology and that emargen asa meta forthe ‘human condition. We are plunged, asin Batu, inte word goeero Dylon rule. Sam's perspective ents with llasons to the spect {or powers and limitations creating «second evel of damatiirony. We 28 hosts are invile to the ving, unable Yo touch, and ean be head « Fin, Hoo once ay Fanos nly by pevleged modlums. The afer is portayd as «univers ble afbo oman ones, let eves mube onc le, alps; present nthe wrk eine nex “ius pci fects mph the ose asians of eject and odes ruts pone trough thom. Spt prtdocely ave orca force Sans One mentors hs lonely bo sa tetas thon the subway where he died and as dcoeret howto chanel hsresrvesef anger tcknetaly “Yo ait gots body no more, sn eaves tetthcony way hecas eps bow bemoresthings though Udy imagen asin the flowing prado, when Sem atempingto move Shabani can "You gta ove with your ibd. Push wey dn ber tothe pitt smach and tent empl Bee mln? {envor om your gute ol yoo" Maneuvering a8 ost means [Eaningto“inpe sebjeetity a sembodi state nate that does ‘ot exit, tothe eaten tt he propecive of the lm as the viewer ‘Else more keenly evar ofthe power of embodient Inthe mace ‘EencSa can “ee” have or Maly only by posesing he by ‘ofthe metisn Od Mac Brown (Whoop Goldberg hough whore Stobdimeat he able to ous Maly oun The iy white mje & er at es two senses uses Black female buy in order 10 ‘eiome aman once more tne sn maco aba, he io ser 2 compute wi tmemageson istthrom miro tnhcock sal Tn Ghon, and in cont to Bet, the trina ghost ely seemed tomate animpresve comeback The ls nat sueouout ‘ov jstice: tres and murderers are summary patched by de ‘oni Mack whirwins to Hell andthe sigheour=those who have Tle ter sligeon snd exacted sevengeeventaiy se 2 i eyesque Promied Lan. a fay pst proses ofthe Ean Fela ‘Te anary contacted the fs sci lses the sense Dh We art icin eplesess salt an viene, the diplscmest of the eso by lve machine, egies of cls race ad power But he im [Sse onthe sper Trough ts prop cadre eng and ‘oi and tears the hua etn ed seston beret nthe {heats alyation. The fs slout Uw wansendence a he body sada thaugh ri tr ofthe Doss medium, And mediums, ‘Soren the ent ve bee etre throught fom the be str dustin the opening crest he ay, othe vio oe ied as Ere to Ode Mac Brown, the Back female ala he mem Berl, “et Nocame sia! to some pene who seem to have earned to shetheatreavebera go ochureh forsuances tobe led with he pit Dateien Ge wan inerct inp iw Ain Bere the goss ontlgal end eptemolageaemmar were the Spa Spock fects o tore-able to observe and become involved from the “ther” se but ‘over ake onesl present, never ako one’s subject vai nthe ura of events: Convery the spectator hich the potmnder abject ad become was by Implation sot f ghost, realizing «ela mages tr mis Ident Ghat fnally mai, wan embodied or enabled hy ‘ediuma body clay, word, ot scren, Regards of the cathe clings, the plasterof paris angel fawn in by Belcopter, nd the foxy pastel nage ofthe Blan feds, the medium wes al the only rea DOES It MATTER? OR, ADDAMS FAMILY SPACE In Bary Sonnenfls The Adams Rory (1991, there ae no ghost, toast in en orlnaryseaseaf the term. Theres no ned fo the. Tae ‘Addams have Thing, the ucmboded helping hand. Ae thet fariiy ‘ameimpis they have reverted nd represent the primary innocence of the peolersla preOlipa, inaginry, i which ef end ober projec and reality ar indsingulshable. They at out the unconscious feth rangparnt purty of hear, and in contrast to Betlgeune, wo ‘winks and fer with adolescent prarence. The Adams family eat, he the tei n Hee, ns marginal space whore rules have bee fapended. The Adame word ra exmless projection of desi a8 Grou, mac elon, or vita aly. When Morland Gomer west tohawe« bal they ply maine and the poetic pace ofthe allem sccommodaes ta antsy. Halloween reverts toa rue Al Sats Ee, 8 Joyfalromp sound the graveyard with shoves to Wake the De The Day ofthe Ded and Preadys Nightnares come togehe ia harmony ix (he Addams fal’ eed pace ‘What ae the Addamses? The ontological tates of the Addamses thereon indeterminate nd ishvent a that of Becluiceee they {howe or ghouls, monsters or harmles eccentrics? Ae they dead? ‘Wednesday has the best answer, "Doesitmatier?"TheAddeseate overt fn thir vitality As Things bles existence ls they are manife {ons horror monster cross, collected in eae enchanted place "The Addomacs area “Gothic” family but ns preFeewson, exsly Innocent sence Like pia Dost, the ae more then hall foe with ‘ipl dat, embracing necrophilia In a nenty Merl sense. Alas ‘iy me re olny move, nd theft fm pens on Chris ve {the Addenses dunp baling water on career Lie Use nhabans of ‘Tim urtonsHallowenlendin & Meare Before Chrismas 1983) they embody the ultra represen andetun of Thanos. They ate ancestor ‘worahipperswhose‘anulygravejardssanoturl extension ofthe ancora oute ametonymy for he spare’ of theft el Yelk the Gothic revivelisalf, they represent hess of acest, istry, and amyboloy @ Fm, Horo, ond Body Fonte of death. Their tel ancestors, afterall ar the 1960s lesion vie and the Chale Adame aroons ha ppenredin he New Wirar began $n 192, ad the medium isthe mowage Tn ths pow space, character and spectators are united at family” swith iference ne Adams Fay, ata Betce, the haunt Toate and its Gothic (2ysfanctonal familys the norm. The in san ston for projecting primary fanasis «castle of special elects on the ede ee Wa’ Payout od aie Marion As buch the fm returns tothe ‘spooky od house” comedy and its Oothi ancestors, to Thom {lve Reanck Aghomae AB through Fo's “Usher” byway of Pred ‘nd achelar. Within the safe as) mediated space ofthe fail, they ‘an project heir ates os fantasti bodies, The Addanees donot depart rom the eset of the eighteenth and nineteenth cenfuies we hy project ar rma the perpecive of “hyone wi deve home entrainment center I tefl soxncuson, {he vile ae cipatced by dee and poetic tice at “expressed” through the Adare fly brary Their books ae nt jst erate” ‘We open thy erst virtua enezonments appropri thel ils Gordon fester opens Hurcicane lene, and the force of desire and imag ation whooshes he villas into waiting cols that romps bang thi Ids shat he thy ded inguces Pug “Does mater” Wedesdy shrugs in el "The principle ofthe fim the dgplacerent of reat andthe rai principe ad Sreud by fantasy spcetroaph dese, gull andcondes Eilon, The peyconnatie term ls introduced by Margaret Tully, ‘rare! pong alternatively as oe De Fenders” who spout ke ‘Scrmamccontedpoychobale snd as the dominating. manipeltive Mother esived fom Mra Bates of Pyck). The vlan see Gomee ‘da’ lot asa baer Fest steal the fal fortune ane viet the Adlamoes, The eribe Meer and manipulative pryeounalst share ‘Seomponte ole of monster and resi pnp this lm. The Adams Foi oven more than Betlguce and Go! sa fantasy based on the ‘Meanie psp in whic desires re instant flied. “This ana include the len Cosi the Siamese tins Flr and uns, and stata spit spt in the poses in which they were ‘ectted ke the sk too-embodied spin Buju’ afteife wai {ng mmo. The ghost Inseparabie from the ance home, which tetende dicey ke Usher's) ito the erypt In The Adams Fa this imine space purslane as sbterapen alts alo ¢pleyoom Inwhich Gomes shows hme nies When Gomes ero ubapy, evans his dre tae at inpoasibl, trying sped shaking the Rouse thesteningfexplode order atgeter In ther surely foysand fine re expresios of setios conditions or emodans, while sas, Iasocism, necrophilia, monstrosity, and Wansseesie sexily are Spectaleet « present as harmless sublimation, es “toys” Living in the mari $ystemate reversals of patrachal norms, the Addams represet 1 us tr “ea” desires ta the Addams fay mension, Bos an Thanos Fenainindiingushable Ip contrat 19 Andrew Mares “fine and vat place” in which “none embrace,” Mortcia and Gomer Addams Bp the smite communion. Only there can the “elo hai rot together, colpsng ite one anther foal etry nuts Wns to iT ern “ror in which ancestral pnts and fami are desirable extensions of Ueland are constantly present with eli For massed cate (and in Keping wit Ptr spect tlevsionland and Boetguce’s wing room) Addams amily apace a natural extension othe conten porary family oom, tn fantasti space, secng is belleving because vecng Eine Chapter 3 Frankenstein's Progeny OPEN UPA Few CORPSES..." Mary Wollstonecraft Shelleys account of the shotsory contest that produced Punto i he induction to et 1881 ein, snow | famous arher monte But theesier sceount the 119" Preface writen ty Perey Shelley, sets at the book ie no "mere tale of spec tee enpposed, hy Dr. Darn, and some of the physcogel veins of (Germany ano of impossible ocarrenc (6 ‘Marly Gaul ages esrtg tht betwen 177 Ann Ralf's The ‘alan sd the pbcation of Pantin in 181.3, Eagish elf bad sequred Gothic dimensions” {MIke work's industrial centers ny under pal of smoke tat was {eed by Gustave Dv to strate Dantes nena. reve were {obed. oo replay thatthe London poor uapected the medial ‘ool of starting epidemics to rpplycorpees forthe sessing {oom {Gv and wear and lacey were animating he inane ‘at and ensiaving the people who created them .--galvanism is cer a and ements Sn foto “ Fim, Hono, nc he Body Fonte Frople needed more than an escape from tis brave new word; they ete an “adapive mechanisen (Gal 241) that Shelly's fext helped ‘rovide. With Panhentes, fantasy moved from the case and the [rsverard o the operating arena, andthe ghost was sperseded by the Ionsers ofthe modern body fantastic. Shelly took the Othe beyond ror and brought forth scene fiction, asin made” prt of future shock, webich explored ethical uncertainty in he face of sent Specltion (fain nd Soles 6-10, ‘Frannie it lly the post enlightenment sso the spiral This specter is the phat story’ alter ego, the "Neve Hea as Groner cali} lsh remade int sown Word. Shelly's monster ‘was dscomfotngly mara was the erp perceived eu of the comforting abstractions of religion and science. The text dscomfrted Further by bing embedded inthe dalogue of several nretors Although ‘heeptelay novel wera poplar even, Ponhesn wana alge, Inspiring controversy and pcculation. "The towel seems fo hae been writen for or time—to att (o, rathar, embody] areas of ers in Watley, deny gender and even ‘police Mont of remember that moment in he 1931 Sim when the ‘rates hand moves and Gol Clve's Rathensten excans in hye terial fam, alive alive. alve” Bat when Shel Vicor Frankenstein views ie cestre he seals in ater herr Refsing to Tonk agua, herons fats hs drone and als toa op ep, Why, asks Chris Baldi i the creature perceived a gly when rankenstln a select ts fates at beau” and “in proportion”? (0). Le wt Took fora moment st what Vicor sys he sa ‘yellow skin scarcely covered the work of muscles and ateres ‘nau his hair was of lustrous Gack, and glowing: hs teeth of pty whiteness but these surance only formed moe bord ‘trast with sweater jes, tht seemed mort of he sare colour ‘the dun-whiesocelsin which they wore ct (52) Casing into the creature's eyes the windows to the soul in matin and Fensiatance thought), he eos not sme itl spark on eesti charac: Terie Instead, he Ses ino the erstre’s body Ha see tough the [roves of dancin, ints lner afer ler of unmircalouy, doperte tissues csrete organs He ses ten organism with coherence we all Ue bul the guntEable ur functions or parks Te monte te adver the ‘ataral man" presented withthe Bata accuracy oferta textbook illustration. "And 0 the ite i ot wht Vicor sesso ranch at fa he aes i mechanically and, more pecely clay The st of seeing In is enter becomes the sue: Ht mean setng ito, physally pene Frontondoers Pepeny o And manipaltng the ing body. Vito's chievement under “tral Blilsophy” is what Miche! owes caled he modern medal prep {ve Bich adit France nthe late eightenth entry Wie Iwrence, Feoy Shlley’s pysian,« “radial mater” and ety ‘olen, probably Strtsced Bichat's work o London medics ets inthe century second decade Bier 1. The reviews of he fis tation note the boots promotion of favourite projects snd passions of the tne” referring to ts alkions fo sent sonic theory a used by 1810 in pbc etre, ewepper and boat Baler 12) In the Quarterly Ravan between {aio and Ia¥8 "opie such ax elety ‘edmapretin, vivscoUen and Polar exploration nd thespecret ew ‘otal French work inwhat became evans werdnc used Bt 12) rants test othe seins reviewers the 181 etn, es relly about medcaliaton and suggested In Vico’ experiments he ‘aly of he rac peapectve prt of onsepael, mpir al phllogy based in'puthoiogcl anatomy? eyes is Te Bir of he Cl, as Foal cals, refering to Bical’ ‘velopment of pathological anor. Bcht sevice to mother phys Glan in et8 was o “Open up afew corse you wil Goat once ‘hedarknes that obervton ne couldnt age (tin otc, inde 14) Tat opeque marin which eet inne sons end he ‘ery myst of ons le idden'—te Inner spares ofthe body, he Treat” of hfe—would be revealed, "The metzne of symptoms wil ‘fadualy recede” Foucault oncaden unl R“Sappete etre the Teicne of organ, sien, cacy, before clinic whaly ordered in ‘tcordance with puts! antony” (Clinic 122. The cine paced» Dew emphasis on seeing and was hee tht Foucault dscovered the ‘ower wielding, manipsatve “pao” The ls [probing sect ‘ye wan kan index finger etating te depth Hence tat metaphor ‘Pio. by wbih ctor wl ensciealydetioe heir ane" (Cie 122) The empass on visualisation, mapping and surgi manipaltion| of the bry eto what Fou would ter our moders “ecole ofthe body a course of bopower, whose tema were bodily fds ‘rzns, and pars, ad a notion of man ident with the mackie ore fist eth process of enh was obsrvet nfoxnd fo bare ‘ie’ of ts ow. ike disease, dent wos acovere to have "ten freaence ht snap igh vie to tine and pce The ced erpectve transpose boundaries an relied fhe reatonsip of [e'ted death bagng the ater “down fom the abecuteln which sppeaed ota indvinble, div, rewmerae event vlazed ‘sitet rouphoet fe inthe form of separ pti rogestive den, eats that oe slow in oesing hat they extend ren beyond enh scl foucsle, Cine 45, o Fin, Hoe end the tay Fans Victor Frankenstein explnins bis sequence af discoveries in smi terme Heat int seks to discover howrnatare "orks in ber hing ‘place’ (Shelly 47). 1 Boeame sogeined withthe scence of anatomy. Eat this ws ot salen Italo obvere the nateral dey and oreupion athe humen body: theirs and progres” Spendgdays ‘td nights in at apd har! Route be ind, ke Bich tht death ‘Sinoeparble on ie, “To examine theese of swe mst Sat ave ‘course fo death’ he explsine. After analyzing ell the mite of nation, as exmpled in the change fom fe to death, and deat Uta ns ior dhe lt ofthis darken «sadn ight broke i Upon ‘ea ight ria’ and wendeous, yt o simple” Stliey 8 "Foe lgh hat “broke ia” pom him nay have Seen the sane one that J Beha cnc ‘opened up a cncepual space forth body» space oven decribed se “ep, visible, so, enclosed but acceihe Ip {he space created by the sna ae the ae mth of wall would be born Tori Bichats ln distcbed the ured relations fife and dea, io reseed It si that “death edly repeated, but so fsoracd, abd although # ceaelealy reminds ta ofthe fit that ters win hi, iso spent im of tht ecco hats he ‘med, postive fal fom of hie Sista” [eacaut Cle 199, Tabor the body ante wa the horror and missle Victor sae when the creature opened it eyer-it Bogan a body spectacle” hat was tse a nomen of uth It Meraaed the notion of eeng Sto ting ‘Thos Michael Thomas Carll deserbes the gaze of eigheenth-centry tutopey Gang inthe empirical uth ofthe orpe wa ike secng {he mystery [ll Chats uric, of ino the sincerity ab Mis ‘sree of pp” (0). The cial perspective was therefore Shyiing bu emysiing, Tho new “mortals promised that he body ‘ould be manipulated te procees reversed oat te very leas, ss ended. e's obesson with premature bail had thir same other Eder instance, in "The Fat inthe Case of Mt alderman which the matter Rep a patent i tate of suspended animation fr forsy {ins ltr his ofl death. If power no longer ride fm death othe {eri itwas invested in the realized ane space the body Indes, the ne mri ws fealy new vam. The moral ay “armed” sith wehaoogy lor eat Foca woul subsequent cll Bo-powee ‘eplaed the fetal soul, and ae Prankenrin's apd Poe's onaers ‘lmonsrt, the body became the site for mythologies of sl-reation fed travcendence The bth ofthe sie was the Bi of the body fant, "The ny inthe monster's eyes wor no mere tale of specter: twas the future. The eentare was and is ow more than er the body species logical machin, a commit, se material construction {thiol ee and site of contestation em urpesing tat nrecent Frontend rogeay o ‘ton and fm the Frankenstein myth hus come to represent boehial inecs rt of vs wove contr cr vl be onfrouting trace comme ‘with boron, the ght to de, Hesuppoe systems, organ Uanplants, [yonien gene therapy, genetic eagincaring. reproductive tochonlope, tod yoo, ‘Among the most uncanny experiences, eeu elu, fs doubting whether an parent Iiving boing ively alive and converse wheter tp nena abject might be aliveence the sometimes unc“ resson made by wawork figures, dolls and automata” These Eure real wat Lacan termed the “ior tage” Wat we percelve a the moment of uncanny recognition as our doubles. Te subject den ‘fc Rel with someone ee, hate i doubt a to which hi “sifis orsubsitate the extraneous slo sown Inter word here eit doubling, dividing and interchanging of the sel” (reud, “The "Uncanny" is, Pankonstens creature Hkewise the double ele replication ofthe ot that the Ancient Kgypians to make animes nd images f the dea in lasting materi Such eas. have prong fom the ao ofthe primar marci vebich omits ‘Se mind of the ld and of primitive man. Bu when this stage as ‘been eutmouted the double revere espe. rom baring been sh nbrance of immorality becomes the uncanny hatiger of leat feud, "The Uncanny’ * 24) ‘The double bocomes the harbinger of death because it embodies ur ‘mortality even at represents the start to anand “The most hrnfyng of doubles ithe compre seen without God ad ute scence at JlaKeseve explain. The caries the Meh of ‘jection. Tis something rejected from which one is not expats” (pproacing” 127). Accounting forthe abjectnss ofthe compe, Jul stove sys tat aoe inside the human boy darpts one's sens of toundare ‘The body's ncde shows p inorder to compensate forthe callp ofthe border Seween nie and ous eisai te shin, ‘fragile container, no longer guarantee he tei af one's“ Sod lean sl” bt scraped or aneparen, ovine ota, gave ‘way before the dejection of ts contents [ove 5) ‘Ths the restue Frankenstein's confrontation with his own mortality (ae Step King pt the ue, the body under the sheet i always our body” "A recent researcher employed to dscover wat the pubic thought of seit tummavaed is nding ith sth of ranuensti's os ” Fl, Noro, en the Rody Fone ser [Butler 2) This monster inthe sone that tisour cute coltive Other reflected inthe post Lcanan miror ofthe mas msi isthe feet ofthis chapter By Prankeniin's Progeny Timea ithe May ‘Shelly monster nor Bers Ralf or the plethora of lm sdapations fShelersnovel mean the monster a popular mythology sperialy ‘Batol he dialed “bio-powered body Myproosenti Mary heley ere he velerredto he "neous progeny” he 163) intoduction, ‘iaing 10 "go forth and prosper (Appendix A, Inte. 22) Forte text tad aeady reproduced Hac aster pay (Rlchard Beimsley Peak’ ‘Prosmption or Th tof ranks, 183), 2 second edton of 123, snd pul eacon beyond Shley's widest dreams. My emphasis ‘ncalrally produced readings ofthe monster astody myth and cultural ‘con: in iy tleviston, averting, and in what, for leaf tt, Fa Cling cinematic ison in novelization the Spiterpnk "everest" Bret Beslon Bl's Amercan Peo, lien abicion natives hit Incorporate horror and hf conegraphy and ploting and tbl ou ‘alm. am Viowig these phenamens as monsrour ofspring. mutations ‘tthe modern here in td of these” fn n partae one of these readings, which continued along the lines of Vitor Franken’ cautionary lhe monte became te sri he body ‘ving comps or walking dead the mindless mass td slf-devouring ‘onmumer Another myth, the anthese of the some, chose the mow ‘Ser ide ofthe sory and gave bith othe science fiction android or fyborg, the body as machine. Emerging wasps ofthe above vas the myihot the psyche? orhypermasculine seal ile ofthe 1980 The paytu's ale poi the postmodern version ofthe slmade man, the pester Thwe fur speters descended fom Sli aarel by way of the fm cons of the 18808 As Panhense's progeny they coins THE UVING DEAD ‘Victor Frankenstein eventually ad to coaeont he creation. In the 1900 we ae jut bepnning to confront ours In 197, in the Harper [Maganne tle “Harvesting the Dead” ioethiest Wied Gapin posed ‘he central bebe! en qin ror revlon atte sedy spectacle” lmply “the fear and rrr ofthe ignorant nthe face of the ‘Bow? Oris it ene of thoe component of humane tht barely sustlns 1S and whose removal lone mere top in erasing the dtnction Uetoua man and the lever creatures between man and mate” (30) Ipthe 1970eand 1980 botechnaogy very nay epi n fc What Pranhensa conceived as fantasy—with oman vanspantationfeginning {067}, the computer gene machine ln 1981, tbe Jarvk7 be sical ear implanted in Barney Clarkin 1983), Baby aye fin 1984, Frontend Pogeny ” tin cll transplantation in 1985, cif gene therapy in 3980, The "ational Organ ansplantton Act passed by Congress 1968 prob ld the sle of organs for tangpantation, butte real point emerging ffom discussion was thatthe bay ls pv Weed a cmamodiy a ell ‘tprson. tas mart vale. Butt whom or wha does elles bone, Blood sve, genes, eas sperm, aad all~belong? Where the Sneha issue in the 1870s was birth cont In he 1960 was Deats Contal” ‘5 Joseph Califano pointed out in 195m Aeron lh Care Resolution Who Tes Who Dis, Who Pie (175. Having destroyed Death ox 05 abuslate er supernatural vent modal fechanlogy, banced by the ‘wellness and body image adult the py processes of esth 2 ferent kindof horror and anew mystique. Ae Wale Reick has Suggested, moder fear concerned not death or the dea themes but "ewes and the posi ofa ving death as the reeftion of eat a ain deat” created more ambilty When some of oar ngs ‘rased fnctionngyour heat or hangs for intance—vwere You dead? ‘When were you ely dead? When you" cou include antic prn's ‘especie’ organs who ee what were you? Fora progressive ae hist ‘of tinking hid got, Westen medicine was sll laboring ander the ‘metaphor of he ‘Cartesian clockwork nivere, witht interchangeable ate” explalned Kimbrell in 1900 medicine tet may have reached Sits mechanistic zenith withthe attempt ott tuboon Rear into 8 ‘aby in Loma Libs, Caria (Sacro or for Sl” 2) Te esl wos that the toundaries of hfe ad death, animal and aman, self or thera deny ha become meaningless. "Wu ere ii Response thee iosuescame in several forms bepnning nthe 1970 ‘Acdocwledging Willard Gayle atid nan endnote, Dene Bichon ‘eroe a group of Hoethca sort ser that became fluent elt ‘asin They were unfedby the metaphor of machine Ua ete people thew them up aa spits at ony wht scant se" (teen, “Dead Une" 117\"One story "The Dead ing acknowledged na note Gay's 1974 scenario of «cadaver farm or “ioemporam” which tatined “eomorn” braindead but “war, resprating. panting, evorating ods regusing mining. cesry: tnd gener grooming tenon” for ios of sever! years Gayin 26, “Ths morang I put ground plan By wil's een the arator of Bthisons story bgen. “She didnt rake ‘wound. She never doer” [Dead Line” 10M. The sarator sabotage the ‘achin by destroying hi wife's boy orga by orga, lye ble, ‘ring vislation hours Etchso’s risa plating latte sory ts ‘hling normaly ofthe evening news Ina Harpers Magasin or of October 1990 «philosopher, lawyer, 1 dct and sn ect dette the question ruse hy Wilaed Galt ‘nce more, hoping to come to sate conclstone before "echacogy Propels sat hasty decisions Sacred for Sle” 7). Harpers Bar n Fie, Hoe, end th ty Fonte ‘Jock Ht noted that what in 1924 was ste x now “potential publi Peiy: Team wrt a ving wil saying Ut IT become raa-dead ‘thers ay citer msintnn mec ie support orlt med I'am chice| But head, suppose Ihave added “aight twin which wish to [bemsinsinet one supports to have my organs tle a hy are eda. chin would surely have apreed with Kimbrell and Lawyer Lo Andres, who hate argued tat erin data definitive concep! wat ‘evised fo faitate organ aresting (Sete r for Sal” 89 Btchison's “Calling Al Ronse” acenro from the perspecive ofthe patent ‘who as sl his usable organs othe bank fora fe to be turned oer to is wile ster the tte’ standard teste of death As the etacton vit ‘sertes and lanernber hm, be calls dw ll the horor movie ‘monsters whom he fel prefguedhis ut, rom Mankensteln screture {0 the ania people from HG. Wali The Ian of Dr Boras Tt the monrters have become victims in the smn, the vite cannot be dstinguithed fom the machine that consumes them. Thi it tne roy in “The Machine Demands Saco” where Btchison eral {ne the metaphor of organ "afc and imagines «new kind of highway robbery. He Felts the experience of» group of parmedie wha dive {and operate) a vactrane ecacion and tansportatin) unit and scout {he Lon Angeles ey for acidents On a bad day they fest fo 8 hearatac vita deteriorating neighborhood. The parece thei patients" reworking clas people of elor who worry about money ted eve a rundown black vn (asked "E-Mer Gen Zac st on 8 ‘rating or ae oe pump Asin Gorge Rome's zombie movies In eich fleshating zmbls ae Merazatons of the cc fa canst tlt bop economy, we Teal odes an weal fel the machine. Silly Btchloa's “Phe Late Shit Werle the metaphor of "working Fle” A mysterious oraniation provides chesp labor for alight fonvenlnce stores by involving egal lens, Nave American, ab homeless peoplein automobile aecidets, shooting them up with embel Ing id end adenine, eating them with pacemaker for fortyight work bous, and then dstoying them in more acldents staged by “employed stant men "Ta Robin Cooks ist media thir, Coma (1978), adapted success fully © fn by Michal Crichton author af The “ndromata Samy Terminal Man, Juasie Park, and resto of the tlevistn sres ER) 8 owt system sees healthy patients for rotine operation enders them comatose, and malnaie em fr ater dserion and sale for transplant cperatone Cona's Gothic erone is «young Intern Sean ‘Wiheeler [Genevieve Bujold, nestling the causes te coma “death ‘ter bes fiend Ashe explores networks of ai uc ppeines crawl ‘paces, and corridors fr evidence the bosptal comes to vesmble the Frontonters Pegany » Inside «vast organi machine. One netrhallucnaary shot pans a ‘o-emporar where hundreds of prec roy pink odie seem oot ‘Sonnected by umblal feeding tbex, Coma i ne ofthe st fa long Sevier of fle tat fous on the feminist theme of rater, the Struggle between the female body and coloisng male) technolo ‘When he daciverd that Congres had sithorzed ha ederal overs rent tahoe comptes feof araale eas and that New York Site {ae pute a lw “requiring hot to ak next of hin fr ergans of Felitves nor pear dent” Jreph Caan found “the popular ene ‘nent Con something of prophetic experienc” (182-69) The paternal Inc chit of tat, Dr. George Harris chard Widmar]evoestes ans "he lng vow ln making the “momentous decisns" ou oly Tce shout the ight od, sbow abortion, sb terminal ies, pro- Tonged coma, transplantation, decisions aout Iie and deh But ‘clty it desing, Rion Sint doing Congres ist deci Ing The courts arent deciding. Society i Teving up tow the ‘hres te decom» Thore great hospital complexe are the ‘Aldi four age Thouande of bode [Medicine fs now 8 ‘ont socal force. Theale small. ‘Dr. Hasi is revision ofthe Gothic willsin forthe medial ler “And the Gothies ed esters lngusge to convey the mystery sb {ero of setrat poe odie horror elt cial detachment end Jargon ponctast by moment of igh dams, Tn tbe passage Blow fom Coke noe, ‘The wound fllopen and ite jets of pliting ater blood srrye the area,» -- Tae image othe hile wns played instant tis opt cortex. Assocation bers picket up the message ‘The wsociton spreads rapid. htt activated an ares of is hypotnlsms,cauing icopread dition.» The blood eralized es «Body in less Tet ied with metonyny and pyace dloche eapress the depesonaizann, dioplacment, and face of te body once the tea the sel ts plate space appropriated by mast ‘Somtlousess andthe machine hat ents and regurgites New Flash ‘omers splatter fm sombis, together wih postr once unl fim, gave ith inthe midst the “splatterpunk” schol ot ‘riterthe form exe fom Wiliams Gibsons oben by David Chow ia 1965 and apple to writers ishing Job Sipp and Cras Spector irr rye Joe anual Richard Chitin Matheson, Pip Nutina, and Store Rese. Siaterponk® paported goal es © Achiewe the guint of hort fl “slates te medium of prose ‘ation. Splatter Sm ha provided anew and now requis nagage for owing body language in the mot tera of ens As Du Seow planed, ts 00 longer "enough to see the shadow behind the ‘dor=poople want ose wha’ aking he shadow, what looks Nhe sn how if comer part” (in Tucker 19) The “punks took the enoce enseibing the boy to equally grotesque extremes. Their Bok ofthe Dead was not «neveluation, aoe tere shock ton, ers John Skip tad Crag Spector chimed I "epanded upen [Homer's egos Slmicimythic Indscape, vedefising his whole concept of Hell on arth eenlating into rei fiion cresting an emize new boy of dngerous tersture” [sl Dead} Ascineteraturesplaterpunk was to be fevelion In the flesh "mest meeting ind, with the soul at « Fi, Hoes, ond th Body Fonte screaming omniscient witness [Skipp and Spector, Book 10). T those who ‘deplored the dehumaniation othe no lati vicenc, they caed to Pmanizaton (Bot 9} But the lima pater performance was the git of Dougae ‘Wintey, whose shot sory “Less Than Zombie” parodied H's wendy ‘ove Ln tha Zr 198), sbou chap otlens yuppie Cllorians ‘Winter combaned B's at minimalist prose tle withthe equaly at Topla) weeace ofthe sobs movie ain is psrage: We ick he fra wil... Sheers some more. Her head sin the gutr and Skip looks e Dundes saying “This seal and be pulls Jane hair an er hen is ent ack nd er most spe Sd then e's presng her face agaist the cub and hor oper tee are aeoss Ue top of Ue curb and SK is sying “eal” tbe stomps downward andthe sound eke noting Ihave cer bear Winter, “Las” 9) ‘Weting a er, Winter ba noted that nbs were the monsters for ‘he 1980 In "es than Zombie) cojuntion of sobstance with tl, {he mind numbing sraces of lie’ nuralive became the perfect expe: “Less Than Zombie” slo foreshdowed H's next publishing event, ‘he black comedy Amaran Pach 980. An epigraph rm Dentocesey's ‘aes Prom Undoground suggests tht the nto Pack Bateman was [ike Dostoevsky to be considered one ofthe character four rece ast’ fom ail ving out its days among vs Gi. Elis satioed the Sonsumeram colbrated inthe Ein Pret Worm (1969) in which Gnderella was x prostate transformed, nan exlasies bout bythe ‘wave of a handsome Wall Suec brokers Paint Card American Polo's elem, « young Wall Sect broker often taken fora male ‘model, ha sila tastes was canna eral le, ls pyeho- {alain the hysterical tralian ofthe Kenya moet bokerstied ‘only metaphorically Alienate by technology and corporate metal ffom the lives behind the shares an percentage pity be laghtred tn devoured es part ofa projet tore-cete hint e suggsted bythe ‘Vintage Contemporries cove, « Yogue photograph ofan Arganfentred ‘anned ood male "The sft body sas the common denominator among the victims I sigue the boys vulnrsalty tat consumerism organ Waly nd ‘aiDS made undeniable The boy bad become scram onthe one and and, on the othe, deadly disease. spate fm and fclon ‘rcalated the extn! that the human body had become Otero no, ior than eves, even o especialy inthe age of Schwareneger, female Franken Progeny a twas no wonder, wrote Rabara Hhreneich in 192, that we enjoyed ‘cing the human body slashed, quarter, Sayed, filted and disaved in ats of ai. It et us down. No wonder ‘rele reading (oven in aicles deeply eral of the valence They inanage to summarize about dabalizal new uses for human Fes, tt zn lt fae big sappintment May wel feed ‘hither of lo any cannibal icine hla til veces enough indulge in re meat. Why Don't We Like the Human Boay PSYCHOS AND CvBoRGS Aercan Poco ha ben unthinkable without Pann, zombies, splatter ns and Pack, Robert Blocks novel snd Are Hitchcock's Him of 98, perhaps the orga “slasher” movie Bateman was Norman ‘Bates, Htchotes uttering, introverted anther, «pop #reulan car atte of an Oetips comple, forthe 1980 fand the T9605. The Showthlalhng, mel handsome Bateman was ony supeeicially Nor Ian's oppose. Beeman iogyay and homophobia were symptoms Pe mote fundamental loathing fr the body im which he Toate his ‘ulnar sl ‘Sturt Even decribed hie type i All Consuming Dnages (1988), 2 Marist sly of potnodern ele. Begining the 1950 one ceed INEH fnueh as Prenkentin crested his monster) Dy chosig fom foyied gods tha function ean inst sytem of persnal era. {Sa as Ben desribes an sdenty Ki (70 ES yuppie wen! level frtbor ta choosing “afer of aggresive and “conspicuous ‘Snsompion’ end anny composed of surfaces and pars the self ‘2 hjet and ings wen 70) The poetmodern el "designer boa ‘ne consraced snd overaledwith the body blero the model 2s fbestexsuplare Mods provided thera materia” far ou images eed this ved at “perpetual spectators of theese” desving pleasure or puis fom the surfaces ofthe own bard shee Ewen #0) ike body Rises, medea worked out o achive “harbodi” Snel tuned mu ‘hines. Prtkentin's monster the prototype for this pestmader selfs the perfect logical imahine.Lacaag pat or nner” specm ts mech ‘Sed and eamented int fnction role, o What Foucelt has called Sechalogeof the ael"-A workwatvidotape series advertised on {tevsion in fe summer of 1998 pins But ofS, age ofS, At 1 Stel A commer fora home gym fess “Bay by Sole ‘The cyborg the sme’ alter eo, met tanto ato etl end ‘oth dive fom the Frankenstein monster aan made” ling ms e Fm, Hono, and the Body Fonte chin. The mega lsins ike the Terminator wore the real heroes ofthe fm of the 1980s fn Tominatr 2 ters fathery Scorarzeneager pledad “Trust mam the Terminator Come with me and lives "Wilh ‘ising ste! pectoral RoboCop was “high ech parody of Salone ot Schwarneneger~puye no marele Pound they [cold ary ava orerr his walk int thunk, thus, hunk that sounded ke uy Inyralc presses” and a steal dane of «voice (Bassin, 8). The boy st machine, the cyborg developed us projection and dsaewal flor ‘lere~the clr chou of ence so be abeenceof immunity tats ‘AIDS. Thur «gym in Sen Francisco's Castro dst sale” tnd “eahblon galery with nerored wal write Richard Rodrigues There saketneas i 0 longer posable, cannot be dese, forthe body i Shrouded in meat and wears ld” Mearring sel agit sstandarg Its" or pumped” o "ted "The ody ke Pankey scratrs) becomes “so any exvovert parts Del, poy lt” and "Tate Become ngs orth sym ie nothing if ot he occasion for tansendence om ‘homosetal to autosenual to nonseraal. The effec ofthe ove. developed body eth miniaszaton ofthe exaal organs m0 {funtion beyond wit Bebold the ape become Bleu angel eval. Angin un epyeean of rors Rodrigue Alits moat negntive cyborgcoltare epitomizes what Chrsophe Latch ar calod are a “ultre of narcasmn” Mechanical selfexension replcatn, oF dublingzeplaces sor, gender, snd human reproduction “Mtogather A CNN special Marr fy Number nary 196) notes tat the seri ler is @soclpat, detached rom ther Raman being, Ineaptle of empathy seruly rose by vleace, rough which be eres a sense of per ofr fe and death, In the pop mythologies Dl ls e marian who eonarets an entity out oils hough “bic he incorporates his otis. He revisits the murder sts, places of power or magi takes and deploys opin, smetoes wearing pat of ‘itm bodien and incorporter hse. The canal killer Lesherace [of The Tos Chin Saw Masaoe wears 3 “pnter mask” rade fom is ‘male visti shinw Bateman hang is vcs vag inh locke t ir Beat lu, pants hs walsh her eta and fuses ove te procedure for maxing mest oa Hannibal Is the other ie of Me "bse fom red mest in publi fe Italo rages ric nd ‘sperimental impulse ike that expreazo by Jefrey Dbret, who lnbt- ‘ale hs dugae victims to make them nt mombleand when be fl Strangle apd dismembered them, balled nd painted thee sl nd {ook letues ofthe dismembered beds serange asses He did ‘fof thee thing he chimed including the corporation ol he vin, Fontenot hogeny a In onder to contol and teep them with him [Highamih). Bateman Incorporates the Otber ai prt ofa project to construc a “hardy” through which he preserves nd repeater biel. ur cna wit the ‘rte of serial hls the ther side of «dream of having Buns of ‘ler Amerizan peyhos ofthe 19808 end 19908 derive from the Frankonia myth of eltconstrucion and doubling in which marder becomes an srt Prenis Doles of Trae Haris Rad Dragon and Miche! Man's fim dgptaton Manhunter (986) has "oybors son; he ‘as “ult hs body by iting weight ns shrine He, mirored. 200m, fi he makes home movie e inal resplendent before the dislnyed ‘Space af his vice, wh ae eal fies ke the one be never Bad ‘agin, the technologie ofthe body place sexual and fray bonds ‘orm with cleft pine, abundoned by his moter, and abused by his ‘randmoher, age of te monstrous feminine or abject mother, be i ‘Nelghte opr of his projec fo emake hime ino Wiliam a's ‘Winged ond Micelangeleque Great Red Dragon, who ishown evening mst in his own ning ph etre the "Woman Clthed ithe Su Datars body bling program Is (uke Bateman) extended in bi Lili tal, He as on is grandmother power by svearng be fle teeth to mark his ite Then be pas shrds of alors inthe ees to Felet he age in death they are forod to “se” and do homage to Bim. He Inter watches the fr to rele hese fants completly. Slfcreston su buns of mies telting mirrors. W'alaeig i os agent Will Graham saye of Dolayde inthe Sin. When Graham folver the cae his perspative and the murderer's coincide Inthe ‘Smers'gaae and thetwords, Tseeme dered by younthe ver mies st your eres” ‘lle Blof Jame Gumb of Th Sone of the Lambe so wants to tzansfor hime to exape being what hei that be belleves sexual ‘onstruction wl ul Be dstiny. Mimicking female” echnloy, be Svs; he is making a complete "il suit” out of womens akin. His Itomsforston of his mae Menty spat of poet to ase and tranacend woman's power of eproseton, whi be entifs with he Deaths Head moth sean elem of metamorphosis In the povel be fens that n contracting ‘sot outer skin he becomes har” He be allpowesfl mother whom he remembers sa beauty queen "Theserial ker who cnnibslies incorporates or wears women'skin acts out what rane surgery se atechacogy for produeingman made” trowen, does, fone thinks slong with nice Raymond. Her book The “hone pe views wansenlsrgery asa tempt by paachy {Sdaposees women of teit boos the amenity, and hence as Kad tf genocise Jenifer Lynch's Sn Bang Hela (1999) makes iar ‘ot in btn! by language Juin Sends paye a roteaque version of u Fin, Hon, on to Body Feasbe Pygmation, a mad surgeon who captures, lamembers, and immobile woman in oder to hep, serv, abd woreip the tors acute of tit godess that she conmequerly Becomes: More general, th ae es bck to the conic atculated in Prunketee: beeen fchcogy Isendered mal) and aatre (gendered female withthe By te Primary ste of Suge isin, property speaking. i bypemacaline since fon «pitomind in the ection lm tat eas the machine Te fantasies sot ‘Metre oreten a ew fener bt eyberpace:s eas between bay snd ommnictons network. This worl is osalg, ade, and retoite, taking cue om te pet apaclyplc wasteland of Riiey Sst’ lade anne (1982) In Blade Far, Dus 11984), Repo an (1984), The ‘oyna 1984), the Baad Wario movin, Hardware (189), and Pate ‘Eck (981, thee i Dau in entropy polstion and dee tash aad wat. Bla Rumers densely textured snd esgned quay Mare the Toundares betwen original and rep snimate en ianiat, heh Ballo the pola ‘ecordng to Bart Mil Scot's method iso“ Ines of ext proliferating dea, conveying visual information in every pata te ‘Toe umbels arid by enrashae lighted tps esau the srets te so musky The television monitors that have replaced tafe ‘gals provide deliberately poor picture Sbysrapers are ul on {op of txlngsrutureeand ne shown Oirthesteen in their tuned of orien” Ble ner. 001 0 much flned ot femaenprty “The sting, Nile pte, the fn” A) History eretnaindered— “designe” and "resigned," say Vivian Sobchakes pce mteriied ‘postmodern hyperspace (2670). The hum sharers ae come ‘pondingy lew than orginal. The bounty hunter Deckard, whose ol fale te western and the police procedural an mn gies hrslt fake featings by retrofit he ol ofthe hard bed detective hero ed