F. American Literature. Literary and cultural theory/criticism. Music-wise: classic rock, Motown, post-punk, alternative rock, jazz, whatever else catches my ear. Movie-wise: Old Hollywood, noir, French New Wave, '70s New Hollywood, but I like other genres too. Television-wise: whatever I'm watching. Other than that, I'll be re-blogging whatever catches my attention. Feel free to have a look around/browse my archive.
"In terms of the monstrous-feminine, the narrative [of ‘The X-Files’] aligns Scully with the monsters, distancing her from Mulder. More than anything else, it is Scully’s body, both in its configuration as object and as site for motherhood, that codes her as monstrous in the narrative of the series. In season two’s ‘Humbug,’ for example, Scully’s breast is visually paralleled to a man’s mutant conjoined twin, suggesting a connection between the female body and a mutant body. The same episode, which concerns a town of side show performers being preyed upon by the mutant conjoined twin, ends with Blockhead, a self-proclaimed ‘self-made freak,’ lamenting to Scully a future populated by genetically perfect humans. During the course of this conversation, Blockhead points to Mulder as a physical example of the dreaded ‘perfect’ human, asking Scully to ‘imagine going through [her] whole life looking like that.’ This conversation differentiates Mulder-as-perfect-specimen from Scully; Blockhead doesn’t point to her as an example of the nonmutant, rather his statement aligns her with the mutant body. This conflation of the monstrous with the feminine (and with the specifically feminine features of Scully’s body) is representative of the way that the narrative consistently aligns women with monsters."
- ‘The Truth Is in Me’: Reproduction, Technology, and Woman as Monster by Lacy Hodges