Abject Women: The Greatest Horror of All
Broey Deschanel
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Welcome to my channel! I post monthly videos on a mixture of film analyses, retrospectives, politics and just absolutely overthinking anything to do with pop culture. Spoiler warnings are placed on videos that discuss shows/movies with a twist, recent shows/movies, or shows/movies that aren't the subject of the video. If you're watching a video about a show/movie that is over a decade old, very famous in pop culture, and the subject of my video - then please watch at your own discretion. My business email is linked on this page. Please be mindful that I receive a great number of requests for academic interviews, reviewing or promoting films (particularly student films), and guest speaking on podcasts. I try my best to respond to these inquiries - but I cannot commit myself to all of them, so I have to be sparing. This does not reflect on the quality of your research, film, or podcast - and more so that I don't want to spread myself too thin! Apologies if I don't get back to you!
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Visit: https://www.audible.com/broey for 30 days free! Yhara Zayd’s videos: A Monstress Comes of Age: Horror & Girlhood https://www.youtube.com/watch?v=TkUbP2KVVl8&t=571s&ab_channel=Yharazayd Jennifer's Body & the Horror of Bad Marketing https://www.youtube.com/watch?v=llQ_OpOl7Qg&t=291s&ab_channel=Yharazayd Patreon: https://www.patreon.com/broeydeschanel Instagram: https://www.instagram.com/broey_deschanel/ Twitter: https://twitter.com/DeschanelBroey SOURCES: Maggie Hennefeld, Nicholas Sammond, Abjection Incorporated : Mediating the Politics of Pleasure and Violence, Duke University Press (2020). Julia Kristeva. Powers of Horror: An Essay on Abjection. Trans. Leon S. Roudiez. New York: Columbia UP, 1982. Rachel C. Lee, “Where’s My Parade? Margaret Cho and the Asian American Body in Space” TDR The Drama Review (2004). Imogen Tyler. Revolting Subjects: Social Abjection and Resistance in Neoliberal Britain. Bloomsbury Academic & Professional (2013). Linda Williams, “Film Bodies: Gender, Genre, and Excess” Film Quarterly, Vol. 44, No. 4 (1991), pp. 2-13
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