Relevant bibliographies by topics / Monstres – Au cinéma

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  2. Dissertations / Theses
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Academic literature on the topic 'Monstres – Au cinéma'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Monstres – Au cinéma"

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Faure, Célian. "Godzilla : allégories géopolitiques et environnementales d’une icône populaire." Questions internationales 118, no. 2 (July 19, 2023): 133–39. http://dx.doi.org/10.3917/quin.118.0133.

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Parmi les monstres iconiques dont le cinéma populaire est friand, Godzilla tient une place à part. Révélé au Japon juste après la Seconde Guerre mondiale, récupéré par Hollywood au temps des blockbusters testostéronés, Godzilla est bien plus qu’un dinosaure pataud et braillard qui écrase tout sur son passage. Quoi de plus allégorique, en effet, qu’un monstre à l’essence presque divine dont la raison d’être semble réduite à la destruction gratuite et aveugle de toute civilisation humaine ? Quel plus beau sujet métaphysique, à l’heure du risque nucléaire ou du péril climatique ?
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Collet, Jean. "Claude Chabrol. L'art sans la vanité." Études Tome 414, no. 6 (May 31, 2011): 797–804. http://dx.doi.org/10.3917/etu.4146.0797.

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Résumé On ne retrouve pas dans le cinéma de Chabrol la jubilation qui émane de l’homme. Sur l’écran se succèdent des paumés, des cinglés, des notables qui se révèlent des monstres, des victimes qui se métamorphosent en prédateurs. Plus de soixante films, avec de vrais navets et une bonne douzaine d’incontestables chefs-d’œuvre. Tonalité générale plutôt sombre, « série noire ».
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Sipière, Dominique. "La peur dans la fiction : que montrent les monstres du cinéma ?" Après-demain N ° 50, NF, no. 2 (June 24, 2019): 31–34. http://dx.doi.org/10.3917/apdem.050.0031.

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Chazal, Serge. "Meurtre et sérialité : l’émergence du serial killer dans la culture médiatique américaine." Thèmes, types et écriture dans la culture médiatique américaine 30, no. 1 (April 12, 2005): 71–79. http://dx.doi.org/10.7202/501189ar.

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En l'espace de vingt ans, le tueur en série est devenu partie intégrante de l'imaginaire culturel américain. Les Charles Manson,Ted Bundy, William Gacy, Hannibal Lecter et autres ont rejoint de plus classiques figures emblématiques du Mal (Dracula, Frankenstein, Hitler ... ). L'article retrace la constitution dans la culture médiatique américaine des formes prises par cette fascination morbide pour les histoires de serial killers , cocktails de sexe, de violence et de mort. Presse , true crime books , paralittérature, bande dessinée, cinéma, télévision ont été les véhicules complaisants (et intéressés) de cette invasion qui devait atteindre son point culminant au milieu des années quatre-vingt-dix avec une multiplication de sites sur Internet. Un reflux semble toutefois s'amorce ravec la récente émergence d'une nouvelle vedette, les profilers, ces nouveaux chasseurs de monstres.
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Vovelle-Guidi, Claire. "Des “nouveaux nouveaux-monstres” aux “héros malgré eux” : le naufrage dans le cinéma italien de Luchino Visconti aux frères Vanzina." Cahiers d'études romanes, no. 1 (July 15, 1998): 151–68. http://dx.doi.org/10.4000/etudesromanes.3513.

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Bride, Amy. "‘What if it’s Not a Ship?’: Reading the Monster Octopus in Jordan Peele’s Nope." Gothic Studies 25, no. 2 (July 2023): 137–59. http://dx.doi.org/10.3366/gothic.2023.0161.

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The article argues that the alien monster of Jordan Peele’s Nope (2022) should be read as part of the long legacy of capitalist monster octopuses, and that identification and recognition of the monster octopus in this context allows for a greater understanding of Peele’s specifically gothic critique of capitalism within the film. The article reviews the history of the monster octopus in literature, art, cinema, and political cartoon, outlines Nope’s relationship to and development of these earlier texts, and then examines how the film uses the monster octopus to highlight capitalism as a monstrous system that we can neither survive nor afford to look away from. Critical perspectives explored in the article include Gothic Studies, Financial History, and Critical Race Theory, and Nope is examined as an example of the Economic Humanities in contemporary horror cinema.
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Marini, Anna Marta, and Sorcha Ní Fhlainn. "Vampire and Monster Narratives: An Interview with Sorcha Ní Fhlainn." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 145–58. http://dx.doi.org/10.37536/reden.2022.3.1825.

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Sorcha Ní Fhlainn is a senior lecturer in film studies and American studies at Manchester Metropolitan University. She specializes in gothic studies, horror cinema, popular culture, and American studies indeed. Her work is focused in particular on vampire and monster narratives. She has published a long list of essays and several books, among which the collections Our Monster Skin: Blurring the Boundaries Between Monsters and Humanity(2010), The Worlds of Back to the Future: Critical Essays on the Films (2010), Clive Barker: Dark Imaginer (2017), and her monograph Postmodern Vampires in Film, Fiction and Popular Culture (2019).
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Baako, Logan. "The Evolution of Horror Films: From Classic Monsters to Psychological Terrors." Art and Society 2, no. 5 (October 2023): 1–10. http://dx.doi.org/10.56397/as.2023.10.01.

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This paper delves into the fascinating journey of the horror film genre, tracing its evolution from classic monster themes to the emergence of psychological terrors. Through an exploration of key trends, shifts in audience preferences, and the cultural impact of horror films, this review provides insights into how the genre has transformed over time. From the foundational classic monsters to the rise of supernatural horror and the exploration of the human psyche, this paper offers a comprehensive analysis of the dynamic progression of horror cinema.
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Antón Sánchez, Laura. "When Woman Teams Up with Monster." Comparative Cinema 8, no. 15 (December 14, 2020): 60–86. http://dx.doi.org/10.31009/cc.2020.v8.i15.05.

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How has the relationship between women and monsters influenced the cultural construction of femininity? In contemporary Hollywood audiovisuals, where selfawareness of the story takes on a special importance, particular emphasis is given to the examination of the way in which one of the most memorable horror movie scenes is presented: the one in which the woman meets the monster. The classic scream of horror has been replaced by a thrilling empathic relationship, plausible thanks to its imaginary link with the idea of otherness. This rapprochement, marked by language, has developed in tandem with a process of the humanization of the monster and its influence on the archetype of the hero, which has attracted greater attention inthe construction of the history of cinema. The main question posed by this narrative strategy, in which female empowerment derives from an alliance with the monster, is how this updated scene has contributed to the cultural reconstruction of the female identity. We aim to assess the influence of this metafictional discourse, triggered by the rhetorical device of parody, on shaping a true image of women.
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Santamaría Ibor, Mónica. ""I Eat Boys": Monstruos Feminity in Jennifer's Body." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 31 (December 16, 2022): 145–66. http://dx.doi.org/10.35869/afial.v0i31.4301.

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The marketing strategy behind Jennifer’s Body capitalized on Megan Fox’s emerging status as a sex symbol. As a result of this, many reviewers criticised it for not fulfilling their male fantasies. Ten years after its release, Jennifer’s Body is now interpreted as a feminist story. This essay explores the limits and contradictions of these readings through an analysis of the depiction of female monstrosity in the film. It starts with the establishment of a theoretical framework on the representation of female monsters in horror cinema and of the monstrous teenage girl. The analysis will be structured in three parts. The first examines the use of irony and self-consciousness in the satanic ritual scene in relation to the film’s portrayal of male violence. The second part reads Jennifer’s monstrosity as a result of her neoliberal, over-sexualised femininity. The last section explores the relationship between Jennifer and her friend Needy, which makes both of them monstrous in their own distinctive manners. This essay posits Jennifer’s Body and its representation of the monstrous feminine as both a feminist denunciation of a patriarchal system and a perpetuation of the same clichés the film wants to subvert.
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Dissertations / Theses on the topic "Monstres – Au cinéma"

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Ansen, Selen. "Aux confins du corps : le monstrueux : (esthétique du corps et de l'informe dans le 7e Art." Strasbourg 2, 2001. http://www.theses.fr/2001STR20058.

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La présente thèse propose une réflexion sur la représentation de la monstruosité au cinéma en questionnant le rôle potentiel que revêt la monstruosité dans l'émergence de la corporéité. Considérant l'expression de la monstruosité, elle se propose de la prendre en compte à travers l'étude de deux figures principales du monstre- le monstre naturel et le monstre moral- et de leur mise en scène dans un corpus d'oeuvres constitué par les films : "Freaks" de Tod Browning, "Elephant Man" de David Lynch, "Dead Ringers" de David Cronenberg, "Les yeux sans visage" de Georges Franju et "M" de Fritz Lang. Si le cinéma rend l'homme visible, l'appréhende et le réinvente en le figurant, il révèle non seulement l'humain mais l'inhumain. La présence des monstres au cinéma témoigne de cette intérêt à l'égard de l'inhumain tout en introduisant la représentation de corps ainsi que d'êtres qui bouleversent les normes et les canons édictés. . .
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Ramos, Alquezar Sergi. "Fantômes, slashers et monstres dans le cinéma fantastique espagnol (1993-2005) : une approche du cinéma fantastique réalisé par les jeunes metteurs en scène espagnols des années 1990 et 2000." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20107/document.

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La thèse propose une approche du cinéma fantastique espagnol des années 1990 et 2000, et plus spécifiquement de la période allant de 1993 à 2005. En effet, on assiste alors à l’arrivée d’une nouvelle génération de réalisateurs qui donne un nouvel élan au genre en se le réappropriant. Nous partons du constat initial qu’au sein des diverses approches du genre présentes dans chacun de ces films, le fantastique espagnol semble privilégier l’apparition de trois incarnations du surnaturel : le fantôme, le slasher et le monstre. Notre étude se penche sur chacune d’entre elles afin de dégager quelles sont les lignes de force qui les structurent. Pour cela, nous nous servons de la notion de figure, qui à partir de l’étude de la représentation cinématographique des corps, permet également de déterminer quels sont les enjeux thématiques qui y sont associés, ainsi que la reconfiguration particulière que chacune d’entre elles opère sur le genre fantastique
This thesis tackles Spanish fantastic cinema from the 1990s and 2000s, and more specifically from 1993 to 2005. Indeed, this period of time corresponds to the rising of a new generation of directors who gave a new impetus to the genre by re-appropriating it. We start off with the initial premise that within the various approaches of the genre present in each of these films, the Spanish fantastic seems to favour the emergence of three types of supernatural : the ghost, the slasher and the monster. Our study focuses on each of these types so as to highlight its structuring driving forces. In that respect, we use the notion of figure which, based on the study of the cinematographic representation of bodies, also allows to determine the thematic stakes related to it, as well as the specific reconfiguration that each of them operates on the fantastic genre
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Labrouillère, Isabelle. "De la littérature fantastique au cinéma d'horreur : les figures du monstrueux de Tod Browning à Dario Argento." Toulouse 2, 2001. http://www.theses.fr/2001TOU20017.

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La critique traditionnelle oppose le fantastique en littérature et le fantastique au cinéma, dichotomie le plus souvent assimilée à la paire fantastique herméneutique/fantastique de la monstration. Or, ces frontières ignorent la mixité des discours dans les oeuvres. Même si ce corpus est cinématographique (le fantastique esquissé ici est proprement iconique et cinématographique), la théorie littéraire joue ici un rôle important. Le dénominateur commun aux films présentés dans ce travail se situe donc dans leur façon de renouveler le discours sur le monstrueux en refusant la lisibilité du stéréotype propre au fantastique de la monstration, et en déjouant les repères interprétatifs de l'énonciataire. C'est pourquoi à l'objet du fantastique ludique a été opposé l'objet fantastique qui bouscule l'horizon d'attente du spectateur. Ces deux modalités ont été étudiées dans Dracula (Tod Browning, 1931) et dans King Kong (Shoedsack et Cooper, 1933). Cependant, l'objet fantastique a été particulièrement analysé dans Frankenstein (James Whale, 1931) mis en parallèle avec Caligari (Robert Wiene, 1919) auquel il est souvent comparé. Frankenstein a également permis d'engager une réflexion sur la représentation du corps de l'acteur à l'écran. A partir du corps du monstre et de son apparent opposé, le corps de la star, nous avons trouvé des points de tension entre le masque du monstre et celui de la star. Cette recherche a été illustrée par l'analyse de Sunset Boulevard (Billy Wilder, 1951). L'étude du cinéma classique s'est alors prolongée par une analyse des nouvelles donnes de la représentation du corps monstrueux, que ce soit dans le sens de sa disparition (les monstres de Body Snatchers, Don Siegel, 1956) ou de sa surenchère graphique (Suspiria, Dairo Argento, 1977). Dans les deux cas, ces deux études ont analysé la représentation du monstrueux en marge des discours généralement proposés sur le genre, et interrogé les rapports entre ces nouveaux corps et le spectateur
Critical tradition opposes the fantastic in literature and the fantastic in the cinema, a dichotomy which in essentially one of a fantastic hiding its object, and one displaying it. This distinction fails to take into account the plurality of discourses at play within the works under discussion. Even if the works dealt with here are cinématographic (the fantastic of the present study is primarly an iconic and cinématographic, the literary theory has an important role. The common denominator of the films presented inthis study lies in their way of renewing the traditional discourse of the monstrous by refusing the stereotypes of the cinématographic fantastic, and by challenging the interpretative codes of the viewer. A distinction is thus made between the fantastic object, which upsets the viewer's expectations and the object of the fantastic, which confirms the rules of the discourse and allows the spectator to play with them. Thses two aspects of the fantastic are studied in Dracula (Tod Browning, 1931), and King Kong (Shoedsack et Cooper, 1933). The fantastic object is also analysed in Frankenstein (Whale, 1931), together with Caligari (Robert Wiene, 1919), and their customary similarities questioned. Frankenstein is the starting point of reflection on the representation of the body of the actor. From the opposition of monster and star, points of contact emerge which permit the demonstration of the essential unity of the two concepts. This analsysis finds a resonance in Sunset Boulevard (Billy Wilder, 1951). Following the study of the classical cinema, an analysis of the new parameters in the representation of the monstrous body has been undertaken, whether in it disapperance (Body Snatchers, Siegel, 1956), or it graphic excess (Suspiria, Argento, 1977). These studies analyse the representation of the monstrous from a different perspective to that generally held in the fantastic as a genre, and question the links between, these new bodies and the viewer
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Fernandez, Camaño Suzanne. "Lectures croisées des figures de l'infirme et de son territoire dans trois films de David Lynch : Eraserhead (1976), the Elephant man (1980), the Straight story (1999)." Toulouse 2, 2009. http://www.theses.fr/2009TOU20058.

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Le corps infirme dans le cinéma de David Lynch traduit le paradoxe qui existe entre la figure de l'infirme et la notion d'esthétique, entre le sacré et le profane, entre la prédestination et le libre arbitre. Il provoque le questionnement. Il est interface. Le corps infirme devient un motif en art, en particulier en peinture. Le discours filmique sur le corps infirme doit s'entendre aussi comme un discours religieux dans lequel s'opposent image et parole inscrites dans la tradition de la lecture réformée du texte biblique. Dans cette querelle, le destin de l'homme infirme apparaît dans toute sa réalité. Il a une destinée qui se confond avec la réalité de l'espace-temps de la société étatsunienne. Le territoire est traité symboliquement comme l'espace où peut se réaliser le projet de l'infirme. La ville est un lieu de perdition alors que la campagne incarne la grandeur biblique qui accompagna les premiers émigrants. Dans cette opposition, le labyrinthe peut être étudié comme une figure narrative : un objet apotropaïque qui se présente comme lieu de l'enfermement. Les héros et les antihéros lynchéens sont porteurs de valeurs qui s'inscrivent dans une triple tradition : la tradition homérique, la tradition judéo-chrétienne, ainsi que celle issue de l'Histoire américaine. Dans cette Histoire, le territoire doit être entendu comme un espace de socialisation. Le rapport entre l'espace et l'infirme pose la question de son intégration au monde. Et la relation de l'infirme au monde se lit au regard de la querelle qui oppose la théorie du créationnisme à la théorie darwinienne de l'évolutionnisme, théories qui induisent l'acceptation de l'autre dans sa différence. Dans les trois films, cette question est posée et la réponse que donne Lynch et pour chacun d'eux différente
The disabled body in David Lynch's cinema mirrors the paradox which exists between the figure of the cripple and the notion of aesthetics, between the sacred and the profane, between predestination and free will. It calls for questioning. It's an interface. The disabled body becomes an artistic motif, particularly in painting. The film discourse as far as the crippled body is concerned must also be understood as a religious one in which the image and the word are opposed in the tradition of a reformed reading of the Bible. In this argument, the cripple's destiny appears in all its raw reality ; her destiny embodies the space-time reality of society. Territory is seen symbolically as the space in which the cripple's own project can be realised. The town is a place of perdition whereas the country embodies the biblical grandeur which welcomed the first settlers. In this opposition, the labyrinth can be studied as a figure of speech in the narrative : a protective space which can also be seen as a place of confinement. The heroes and antiheroes in Lynch's works are imbued with values inherited from a triple tradition : the omeric, the Judeo-Christian as well as that inspired by American history. In this history, their notion of territory is to be seen as a place for socialisation. The relationship between space and the cripple raises the issue of his/her integration into the world. And the relationship of the cripple to the world can be read in the light of the argument opposing creationism and Darwinism, two theories which lead to accepting the other in all his/her difference. The three films broach this question and Lynch gives a different answer in each
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Valmary, Hélène. "Origines et poétique d'un héroïsme intranquille : les super-héros dans le cinéma américain (2000-2009)." Paris 1, 2011. http://www.theses.fr/2011PA010597.

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De 2000 à 2009, l'industrie du blockbuster hollywoodien a produit en moyenne trois films de super-héros par an. Adaptant pour le cinéma ces personnages issus de la bande dessinée, elle va modifier et accentuer certaines de leurs particularités, en faisant des créatures hybrides, tenant à la fois du héros d' action et du monstre. Autour de cette double origine, nous réfléchissons à la constitution duelle de ce nouveau héros de cinéma en interrogeant les récurrentes thématiques et visuelles de ce personnage, son rapport à son original et au cinéma d' action qui lui est contemporain afin de faire émerger la poétique intranquille qui les anime.
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Colombani, Elsa. "Contes gothiques, Tim Burton : de Vincent à Miss Peregrine’s Home for Peculiar Children." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100090.

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Le cinéma de Tim Burton se reconnaît par des codes thématiques et des images si aisément identifiables que le nom du cinéaste a donné naissance à l’adjectif « burtonien ». Que signifie au juste ce qualificatif ? Cette thèse se propose de démontrer que si la signature de Tim Burton est reconnaissable entre toutes, c’est qu’elle porte l’héritage des gothiques littéraire et cinématographique. Burton s’en empare pour les transformer, adoptant une double stratégie d’adhésion et d’inversion des tropes du genre. Afin de définir ce gothique burtonien, nous étudions dans un premier temps le croisement entre l’humain et le monstrueux, un questionnement directement hérité du Frankenstein de Mary Shelley et de son adaptation éponyme par James Whale en 1931. Nous analysons ensuite la géographie de l’espace burtonien et sa représentation d’une société cruelle et machinique dont les personnages doivent s’extraire pour survivre. L’art émerge comme un moyen de survie ambivalent qui nous mène à considérer la création artistique du cinéaste lui-même, bâtie comme les grandes œuvres gothiques sur un brouillage des frontières, entre la vie et la mort, le passé et le présent, le rêve et la réalité
The films of Tim Burton can easily be recognized by their thematic codes and identifiable images so much so that the director’s very name has given birth to the adjective “Burtonian”. But what does it qualify exactly? This dissertation proposes to demonstrate that Burton’s signature is particularly recognizable because it inherits from gothic literature and film. Burton tackles and transforms gothic tropes using a double strategy of adherence and reversal. To define what we call the “Burtonian gothic”, we first study the crossing between the humane and the monstrous, an issue directly inherited from Mary Shelley’s Frankenstein and its film adaptation by James Whale in 1931. We analyze then the geography of the Burtonian landscape and its representation of a cruel and mechanical society from which the characters must escape to survive. Art emerges as an ambivalent means of survival which leads us to consider the artistic creation of the filmmaker himself, built like great gothic works on blurred frontiers, between life and death, past and present, dream and reality
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Piqueira, Verônica D'agostino. "Monstrumanidade: o encontro entre o humano e o monstro no cinema de Tod Browning." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/1852.

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Made available in DSpace on 2016-03-15T19:42:22Z (GMT). No. of bitstreams: 1 Veronica DAgostino Piqueira.pdf: 959865 bytes, checksum: af3af03c97b9613293c5dcfac01b96ee (MD5) Previous issue date: 2013-01-23
Universidade Presbiteriana Mackenzie
Hoping to contribute to broaden the discussion on the issue of popular American cultural imaginary, the objective of this dissertation is to reflect on the concept of normality and abnormality featured in the movie Freaks (1932), dedicated to the representation of the social and cultural universe of sideshows. We will present the influences that pierced the way director Tod Browning, searching referrals for the formation of his author cinema in his history since his youth as itinerant artist until the dimension of slapstick actor, director and writer of his own films. We'll also discuss some of the reasons that led to the emancipation of the horror genre during the Great Depression, seeking aesthetic, literary and political references in the narrative of his major classics. Based on these studies, this research transits in an interdisciplinary way by languages History of Culture and Film, presenting an encounter between monsters and humans and the way how they are expressed in the body exposed in Freaks.
Esperando contribuir para ampliar as discussões sobre a questão do imaginário cultural popular americano, o objetivo da presente dissertação é refletir sobre o conceito de normalidade e anormalidade apresentado no filme Freaks (1932), dedicado à representação do universo social e cultural dos sideshows. Apresentaremos as influências que transpassaram o caminho do diretor Tod Browning, buscando referências para a formação do seu cinema autoral em sua história vivida desde a juventude como artista itinerante até a dimensão como ator de pastelão, diretor e roteirista de seus próprios filmes. Discutiremos também algumas razões que levaram à emancipação do gênero de horror no período da Grande Depressão, buscando referências estéticas, literárias e políticas na narrativa de seus principais clássicos. Baseando-se nesses estudos, esta pesquisa transita de forma interdisciplinar pelas linguagens História da Cultura e Cinematográfica, apresentando o encontro entre monstros e humanos e o modo como são expressos no corpo exposto em Freaks.
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Clark, Nicholas Barry Clark. "Darwin's Daikaiju: Representations of Dinosaurs in 20th Century Cinema." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1530828784659758.

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Pugh, Catherine. "Unhuman borderlands : madness, metamorphic monsters and landscape in contemporary horror cinema." Thesis, University of Essex, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654533.

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In this thesis, I examine metamorphic monsters and their landscapes as representatives of madness, offering a new framework for understanding the horror genre. I argue that parallels between these entities in twenty-first century American and British horror cinema evoke madness (the dramatic counterpart of mental illness), which can transform everything it touches, including identity, body and landscape. This thesis builds on work by, among others, Bellin, Tudor, Frayling and Clover, developing their theories to propose a new analysis of the metamorphic monster as a figure of madness. I apply Freud himself and writers using Freudian psychoanalytic frameworks, including Caruth's work on trauma and Wood's reading of the return of the repressed. I also use personal observations of mental illness and the testimonies of others, noting similarities between monsters and dissociative disorders. In Chapter One, I develop a taxonomy of madness in horror, proposing three categories of insanity corresponding to metamorphic monsters: 1) Feral State (wildness) and werewolves; 2) Tabula Rasa State ("blankness") and zombies; and 3) Fractured State (aloofness) and vampires. This thesis argues that madness reverses classic psychoanalytic traditions of examining trauma from the outside-in, as the excess of madness forces trauma onto the surface. Therefore, Chapter Two studies the body as a reflection of madness, utilising the work of critics such as Garland-Thomson and Sontag. In Chapter Three I propose that madness can create a delusional landscape: a deceitful world that sutures the spectator into insanity. I develop a model mapping madness onto landscapes based on shared characteristics between them: Feral/wild spaces; Tabula Rasa/dead spaces; Fractured/fragmented spaces. Chapters Four and Five utilise this model to explain relationships between monster and landscapes. Chapter Five applies the work of Lowenstein and explores the link between historical trauma and madness to argue that post-traumatic syndromes of conflicts in Afghanistan and Iraq manifest in desert landscapes populated by zombies.
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Swarbrick, Josephine. "The Monstrous Masculine: Male Metamorphosis in Contemporary Science Fiction Cinema." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/672043.

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Aquesta tesi investiga la construcció i representació del monstre masculí en el cinema de ciència ficció contemporani. El monstre masculí en aquest cas és un home que experimenta una metamorfosi que trenca els binaris com, per exemple, masculinitat/feminitat, jo/altre i humà/maquina. Els cinc capítols examinen cince figures de masculinitat monstruosa: el mutant, el ciborg subjugat, el ciborg poderós, l’alienígena i el transhumà. Al cap i a la fi, la tesi pregunta per què els personatges masculins pateixen transformacions profunds, i normalment dolorosos, tan sovint a la gran pantalla.
Esta tesis investiga la construcción y la representación de los monstruos masculinos en el cinema de ciencia ficción contemporáneo. El monstruo masculino en este caso es un hombre que experimenta una metamorfosis que resulta en la confusión de las categorías binárias cómo, por ejemplo, masculinidad/feminidad, humano/maquina o yo/otro. Los cinco capítols consideran cinco figuras de monstruos masculinos: el mutante, el cíborg subyugado, el cíborg-villano poderoso, el alienígena y el transhumano. La pregunta central de la tesis es por qué los hombres padecen transformaciones corporeales y psicológicas— y muchas veces dolorosas— tan frecuentamente en la gran pantalla.
This dissertation investigates the construction and representation of the monstrous masculine in contemporary science fiction cinema. That is to say, men who undergo a striking metamorphosis resulting in the blurring of binaries such as masculine/feminine, human/machine and self/other. A close-reading of key films and a consideration of their historical and socio-cultural contexts serves to identify and explore the mechanisms at work in the formation of male monsters as well as examining the growing presence and influence of technology and posthuman ideas in the portrayal of monstrous men. The five chapters consider five recurrent figures of monstrous masculinity: the mutant, the disempowered cyborg, the cyborg super villain, the alien and the transhuman. Ultimately, the thesis addresses the question as to why masculine characters so often undergo profound, often painful, corporeal and psychological transformations.
Universitat Autònoma de Barcelona. Programa de Doctorat en Teoria de la Literatura i Literatura Comparada
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Books on the topic "Monstres – Au cinéma"

1

Grim, Olivier R. Mythes, monstres et cinéma: Aux confins de l'humanité. Grenoble: Presses universitaires de Grenoble, 2008.

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Grim, Olivier R. Mythes, monstres et cinéma: Aux confins de l'humanité. Grenoble: Presses universitaires de Grenoble, 2008.

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Creed, Barbara. The monstrous-feminine: Film, feminism, psychoanalysis. London: Routledge, 1993.

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Hyŏn-suk, Kim. Misul hanŭn maŭm: Kim Hyŏn-suk, Sin I-yŏn, Yong Sŏn-mi int'ŏbyujip. Kyŏnggi-do P'aju-si: Chech'ŏlso, 2020.

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Bissette, Stephen. Bissette's Cryptid cinema: Meditations on Bigfoot, Bayou Beasts & Backwood Bogeyman of the movies. Windsor, VT: SpiderBaby Grafix and Publications, 2017.

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Andrea, Ferrari. Il cinema dei mostri. Milano: Mondadori, 2003.

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Bocchi, Pier Maria. Freakshow: Il cinema della difformità. Bologna: Puntozero, 1998.

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Eljaiek-Rodríguez, Gabriel. The Migration and Politics of Monsters in Latin American Cinema. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97250-3.

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Cozzi, Luigi. Il cinema dei mostri: Da Godzilla a Dario Argento. Roma: Fanucci, 1987.

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Abruzzese, Alberto. La grande scimmia: Mostri, vampiri, automi, mutanti : l'immaginario collettivo dalla letteratura al cinema e all'informazione. Roma: L. Sossella, 2007.

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Book chapters on the topic "Monstres – Au cinéma"

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Rein, Katharina. "Gothic Cinema Around 2000: Old Monsters in a New Guise." In Gothic Cinema, 121–33. Wiesbaden: Springer Fachmedien Wiesbaden, 2023. http://dx.doi.org/10.1007/978-3-658-40721-6_5.

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Harris, Martin. "In-Groups and Out-Groups: Monsters Within and Monsters Without in The Mist." In Horror and Science Fiction Cinema and Society, 174–90. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003372288-13.

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Lee, Sohyun. "Monstrous (Re)productions." In Tracing the Borders of Spanish Horror Cinema and Television, 51–66. New York: Routledge, 2017. | Series: Routledge research in cultural and media studies; 107: Routledge, 2017. http://dx.doi.org/10.4324/9781315229249-4.

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Benshoff, Harry M. "“Way Too Gay to be Ignored”: The Production and Reception of Queer Horror Cinema in the Twenty-First Century." In Speaking of Monsters, 131–44. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137101495_13.

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Fehimović, Dunja. "A Cuban Zombie Nation?: Monsters in Havana." In National Identity in 21st-Century Cuban Cinema, 41–88. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93103-6_2.

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Loreck, Janice. "Film Biography and the Female Killer: Monster." In Violent Women in Contemporary Cinema, 100–121. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137525086_6.

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Phillips, Kendall R. "Of Gods and Monsters: Grief, Betrayal, and Failure in the Marvel Cinematic Universe." In A Cinema of Hopelessness, 75–107. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74136-5_4.

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Nichols, William J. "The Medium Is the Monster." In Tracing the Borders of Spanish Horror Cinema and Television, 190–211. New York: Routledge, 2017. | Series: Routledge research in cultural and media studies; 107: Routledge, 2017. http://dx.doi.org/10.4324/9781315229249-11.

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Wilson, Eric M. "‘El sueno de la razon produce monstruos’ or, ‘The Dream of Reason Creates Monsters’: Two Little Piggies Went to the Apocalypse in William Golding’s Lord of the Flies." In Rene Girard, Law, Literature, and Cinema, 115–65. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-1156-7_2.

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Eljaiek-Rodríguez, Gabriel. "Caribbean Monsters: Gothic Migrants in the “Hot-Lands”." In The Migration and Politics of Monsters in Latin American Cinema, 25–65. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97250-3_2.

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