Araştırma Makalesi
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The Representation of the Monster as the Castrating Mother: The Psychoanalytical Approach to Mama

Yıl 2020, , 82 - 95, 09.10.2020
https://doi.org/10.32739/etkilesim.2020.6.76

Öz

This article aims to reveal and discuss the representation of the monster figure as the castrating mother in the movie titled Mama (Andrés Muschietti, 2013). The study argues that the movie’s specialty is based on the characterization of the monster with psychoanalytical connotations. The monster and the female figure are often portrayed as related characters in the horror genre. Conventionally, the binary opposition between the male and the female causes to represent the female with monstrous qualities in the genre. The castration complex provides male characters to define females featuring monstrous attributions. This study broadens the argument in the field by explicitly analyzing the maternal monster character called Mama in Mama (2013) with psychoanalytical studies by seminal works of the theoreticians in the field. For this purpose, the castrating complex, the uncanny concept, and ancestor examples of monstrous characters in the genre are researched to gain an understanding of the characterization of the monster called Mama within the psychoanalytical perspective. The threat of the Mama as a castrating figure, the maternal qualities as a substitute mother, and terrifying appearance as uncanny characteristics are analyzed through the movie’s narrative structure. Besides the characterization of the Mama as the castrating mother, its relation to the setting of the movie is highlighted as an uncanny relationship, which is a conventional element in the horror genre. This study intends to contribute to the field with an interdisciplinary approach to analyze a horror movie within the psychoanalytical perspective. In this way, the representation of the monster related to the material qualities and the function of the monstrous character both in the narrative structure of the movie and the genre are discussed and revealed.

Kaynakça

  • Arnold J. (Director). (1954). Creature from the Black Lagoon. [Motion Picture]. United States: Universal Pictures.
  • Cixous, H. (1996). La jeune née. London: I.B. Tauris & Co Ltd.
  • Cooper C. M. and Schoedsack, B. E. (Directors). (1933). King Kong. [Motion Picture]. United States: Radio Pictures.
  • Craven W. (Director). (1984). A nightmare on Elm Street. [Motion Picture]. United States: New Line Cinema.
  • Creed, B. (1993). Monstrous feminine: Film, feminism, psychoanalysis. Oxon: Routledge.
  • ———— (2005). Phallic panic. Australia: Melbourne University Publishing Ltd.
  • Cronenberg D. (Director). (1979). The brood. [Motion Picture]. Canada: Telefilm.
  • Derrida, J. (1984). Margins of philosophy. The University of Chicago Press: Chicago, Illinois.
  • Donner R. (Director). (1976). The omen. [Motion Picture]. United States: Mace Neufeld Productions.
  • Fenichel, T. (2015). Uncanny belonging: Schelling, Freud and the vertigo of freedom (PhD Dissertation). Boston College University. BCU Libraries.
  • Fisher T. (Director). (1958). Dracula. [Motion Picture]. United Kingdom: Hammer Film Productions.
  • Freud, S. (1919). The “uncanny.” Fantastic Literature: A Critical Reader, 74-101.
  • Friedkin W. (Director). (1973). The exorcist. [Motion Picture]. United States: Hoya Productions.
  • Greven, D. (2011). Representations of femininity in American genre cinema: The woman’s film, film noir, and modern horror. Palgrave Macmillan: New York.
  • Hitchcock A. (Director). (1960). Psycho. [Motion Picture]. United States: Shamley Productions.
  • Kawin, F. B. (2012). Horror and the horror film. Anthem Press: London, New York, Delhi.
  • Kristeva, J. (1980). Powers of horror. New York: Colombia University Press.
  • Mamoulian R. (Director). (1931). Dr. Jekyll and Mr. Hyde. [Motion Picture]. United States: Paramount Pictures.
  • Masschelein, A. (2011). The unconcept: The Freudian uncanny in late-twentieth-century theory. State University of New York Press: Albany.
  • Miles, M. R. (1989). Carnal knowing: Female nakedness and religious meaning in the Christian west. Boston: Beacon Press.
  • Mulvey, L. (1989). Visual pleasure and narrative cinema. In visual and other pleasures, Language, Discourse, Society. Palgrave Macmillan, London.
  • Muschietti A. (Director). (2008). Mama. [Short Film].
  • ————— (Director). (2013). Mama. [Motion Picture]. Canada: Toma 78.
  • Palma D. P. (Director). (1976). Carrie. [Motion Picture]. United States: Red Bank Films.
  • Polanski R. (Director). (1968). Rosemary’s Baby. [Motion Picture]. United States: William Castle Enterprises.
  • Smith, G. (1996). Binary opposition and sexual power in ‘Paradise Lost.’. The Midwest Quarterly, 37(4), 27-383.
  • Spadoni, R. (2007). Uncanny bodies: The coming of sound film and the origins of the horror genre. University of California Press: Berkeley, Los Angeles, London.
  • Trigg, D. (2012). The Memory of place: A phenomenology of the uncanny. Ohio University Press: Athens, Ohio.
  • Williams, L. (1991). Film bodies: Gender, genre, and excess. Film Quarterly, 44(4), 2-13.

Kastre Edici Bir Anne Olan Canavarın Temsili: Mama’ya Psikanalitik Yaklaşım

Yıl 2020, , 82 - 95, 09.10.2020
https://doi.org/10.32739/etkilesim.2020.6.76

Öz

Kaynakça

  • Arnold J. (Director). (1954). Creature from the Black Lagoon. [Motion Picture]. United States: Universal Pictures.
  • Cixous, H. (1996). La jeune née. London: I.B. Tauris & Co Ltd.
  • Cooper C. M. and Schoedsack, B. E. (Directors). (1933). King Kong. [Motion Picture]. United States: Radio Pictures.
  • Craven W. (Director). (1984). A nightmare on Elm Street. [Motion Picture]. United States: New Line Cinema.
  • Creed, B. (1993). Monstrous feminine: Film, feminism, psychoanalysis. Oxon: Routledge.
  • ———— (2005). Phallic panic. Australia: Melbourne University Publishing Ltd.
  • Cronenberg D. (Director). (1979). The brood. [Motion Picture]. Canada: Telefilm.
  • Derrida, J. (1984). Margins of philosophy. The University of Chicago Press: Chicago, Illinois.
  • Donner R. (Director). (1976). The omen. [Motion Picture]. United States: Mace Neufeld Productions.
  • Fenichel, T. (2015). Uncanny belonging: Schelling, Freud and the vertigo of freedom (PhD Dissertation). Boston College University. BCU Libraries.
  • Fisher T. (Director). (1958). Dracula. [Motion Picture]. United Kingdom: Hammer Film Productions.
  • Freud, S. (1919). The “uncanny.” Fantastic Literature: A Critical Reader, 74-101.
  • Friedkin W. (Director). (1973). The exorcist. [Motion Picture]. United States: Hoya Productions.
  • Greven, D. (2011). Representations of femininity in American genre cinema: The woman’s film, film noir, and modern horror. Palgrave Macmillan: New York.
  • Hitchcock A. (Director). (1960). Psycho. [Motion Picture]. United States: Shamley Productions.
  • Kawin, F. B. (2012). Horror and the horror film. Anthem Press: London, New York, Delhi.
  • Kristeva, J. (1980). Powers of horror. New York: Colombia University Press.
  • Mamoulian R. (Director). (1931). Dr. Jekyll and Mr. Hyde. [Motion Picture]. United States: Paramount Pictures.
  • Masschelein, A. (2011). The unconcept: The Freudian uncanny in late-twentieth-century theory. State University of New York Press: Albany.
  • Miles, M. R. (1989). Carnal knowing: Female nakedness and religious meaning in the Christian west. Boston: Beacon Press.
  • Mulvey, L. (1989). Visual pleasure and narrative cinema. In visual and other pleasures, Language, Discourse, Society. Palgrave Macmillan, London.
  • Muschietti A. (Director). (2008). Mama. [Short Film].
  • ————— (Director). (2013). Mama. [Motion Picture]. Canada: Toma 78.
  • Palma D. P. (Director). (1976). Carrie. [Motion Picture]. United States: Red Bank Films.
  • Polanski R. (Director). (1968). Rosemary’s Baby. [Motion Picture]. United States: William Castle Enterprises.
  • Smith, G. (1996). Binary opposition and sexual power in ‘Paradise Lost.’. The Midwest Quarterly, 37(4), 27-383.
  • Spadoni, R. (2007). Uncanny bodies: The coming of sound film and the origins of the horror genre. University of California Press: Berkeley, Los Angeles, London.
  • Trigg, D. (2012). The Memory of place: A phenomenology of the uncanny. Ohio University Press: Athens, Ohio.
  • Williams, L. (1991). Film bodies: Gender, genre, and excess. Film Quarterly, 44(4), 2-13.
Toplam 29 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular İletişim ve Medya Çalışmaları
Bölüm Araştırma Makaleleri
Yazarlar

Tuna Tetik Bu kişi benim 0000-0002-5135-957X

Yayımlanma Tarihi 9 Ekim 2020
Yayımlandığı Sayı Yıl 2020

Kaynak Göster

APA Tetik, T. (2020). The Representation of the Monster as the Castrating Mother: The Psychoanalytical Approach to Mama. Etkileşim(6), 82-95. https://doi.org/10.32739/etkilesim.2020.6.76
AMA Tetik T. The Representation of the Monster as the Castrating Mother: The Psychoanalytical Approach to Mama. Etkileşim. Ekim 2020;(6):82-95. doi:10.32739/etkilesim.2020.6.76
Chicago Tetik, Tuna. “The Representation of the Monster As the Castrating Mother: The Psychoanalytical Approach to Mama”. Etkileşim, sy. 6 (Ekim 2020): 82-95. https://doi.org/10.32739/etkilesim.2020.6.76.
EndNote Tetik T (01 Ekim 2020) The Representation of the Monster as the Castrating Mother: The Psychoanalytical Approach to Mama. Etkileşim 6 82–95.
IEEE T. Tetik, “The Representation of the Monster as the Castrating Mother: The Psychoanalytical Approach to Mama”, Etkileşim, sy. 6, ss. 82–95, Ekim 2020, doi: 10.32739/etkilesim.2020.6.76.
ISNAD Tetik, Tuna. “The Representation of the Monster As the Castrating Mother: The Psychoanalytical Approach to Mama”. Etkileşim 6 (Ekim 2020), 82-95. https://doi.org/10.32739/etkilesim.2020.6.76.
JAMA Tetik T. The Representation of the Monster as the Castrating Mother: The Psychoanalytical Approach to Mama. Etkileşim. 2020;:82–95.
MLA Tetik, Tuna. “The Representation of the Monster As the Castrating Mother: The Psychoanalytical Approach to Mama”. Etkileşim, sy. 6, 2020, ss. 82-95, doi:10.32739/etkilesim.2020.6.76.
Vancouver Tetik T. The Representation of the Monster as the Castrating Mother: The Psychoanalytical Approach to Mama. Etkileşim. 2020(6):82-95.