The monster and the female both represent a sense of the ’other’; therefore they must be controlled and dominated because they both represent a threat to the male heterosexual sense of normalcy. Monsters can take on the form of either a fusion figure or a fission figure. The fission figure is exemplified by a character that travels in and out of a state of being a monster, exampled by the werewolf or the alien creature found in The Thing (1982). The fusion figure, on the other hand, will “combine contradictory elements in an unambiguous identity”, embodying the self and the ‘other’ in one entity. In The Exorcist (1973), the identity of the little girl is fused with the demon that has possessed her. She becomes socially inappropriate, committing acts that are blatantly associated with sexuality, but are considered foul and well outside of ’polite’ behavior. Her identity is fused into the being that has taken over her body, her actions not familiar with the girl that is known to her mother as Regan.The links between the feminine and monstrosity is further explored as Regan is an extension of her mother’s own feelings of frustration. According to Magistrale, “Regan’s demonic possession embodies all of the profane rage that the mother feels towards the absent husband-father. Beyond the exploration of the sexuality of the changes that occur in puberty, the possession represents social alienation, religious skepticism, and marital divorce. The role of female sexuality within the film The Exorcist.
Davies, Stephen. A Companion to Aesthetics. Blackwell companions to philosophy, 3. Chichester, U.K: Wiley-Blackwell, 2009. Print.
Head, Steve. Interview with Linda Blair. IGN Entertainment. 17 September 2000. Web. 25 November 2010.
Hirschman, Elizabeth C. Heroes, Monsters & Messiahs: Movies and Television Shows As the Mythology of American Culture. Kansas City: Andrews McMeel, 2000. Print.
Kearney, Richard. Strangers, Gods, and Monsters: Interpreting Otherness. Philadelphia, PA: Psychology Press, 2003.
Magistrale, Tony. Abject Terrors: Surveying the Modern and Postmodern Horror Film. New York: Peter Lang, 2005. Print.
McCabe, Bob. The Exorcist: Out of the Shadows, the Full Story of the Film. London: Omnibus, 1999. Print.
Pinedo, Isabel C. Recreational Terror: Women and the Pleasures of Horror Film Viewing. Albany: State Univ. of New York Press, 1997. Print.
Skal, David J. The Monster Show: A Cultural History of Horror. New York: Faber and Faber, 1993. Print
Please type your essay title, choose your document type, enter your email and we send you essay samples