Spectacle of the Demonic Other: Transcoding Evil in American Horror Story: Apocalypse.
The monster-as-queer trope in horror cinema historically implemented the binary of self-versus-other as heterosexual heroine versus queer monster/villain. With the rise of queer creators and spectators within horror, this trope was questioned so that the queer(ed) monster became multifaceted. From i...
| Published in: | Screen Bodies Vol. 8; no. 2; pp. 60 - 78 |
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| Format: | Article |
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Berghahn Books
Winter2023
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=173921605&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 173921605 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 23747552 JUSA jtl: Screen Bodies issn: 23747552 maglogo: N pubinfo: dt: Winter2023 vid: 8 iid: 2 pid: 1130 pub: Berghahn Books artinfo: ui: 173921605 10.3167/screen.2023.080206 ppf: 60 ppct: 18 formats: tig: atl: Spectacle of the Demonic Other: Transcoding Evil in American Horror Story: Apocalypse. aug: au: Wieser-Cox, Corina affil: Researcher, University of Bremen, Germany su: Bible. Revelation American Horror Story (TV program) Apocalypse Transcoding Queer theory Villains in motion pictures Good & evil Horror films sug: subj: Bible. Revelation American Horror Story (TV program) Apocalypse Transcoding Queer theory Villains in motion pictures Good & evil Horror films keyword: evil horror cinema nonbinary bodies regime of representation trans bodies trans* bodies transcoding ab: The monster-as-queer trope in horror cinema historically implemented the binary of self-versus-other as heterosexual heroine versus queer monster/villain. With the rise of queer creators and spectators within horror, this trope was questioned so that the queer(ed) monster became multifaceted. From its birth, the horror anthology series American Horror Story has questioned this binary thinking, and the 2018 season Apocalypse exemplifies this best. Using camp, the show creates a queer basis that overthrows normative depictions of sexuality and queer bodies in television. In Apocalypse—in which the "normative" is represented as inherently queer—a subversive reimagining of typically "Othered" bodies overturns the regime of representation in horror cinema. By analyzing how the villain of Apocalypse, the Antichrist, is (re)presented with an ambiguously gendered body and sexuality, I argue that the toppling of heteropatriarchy challenges the position of the Othered villain/monster so that their "evil" is made ambiguous in contextualization with queer futurism. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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