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The purpose of this paper is to problematise the notion of woman-as-monster and draws together a conceptual analysis of the monstrous-feminine and its relation to maternal and monstrous bodies including its implications for equality and inclusion in the workplace.

Whilst exploring how female monsters are inextricably tied to their sexual difference, the author draws on social and psychoanalytic perspectives to suggest how such monstrosity is expressed through ambivalence to the maternal. The author analyses two “faces” of the monstrous-feminine in particular: the archaic mother and the monstrous womb (Creed, 1993) and develop this discussion in relation to the potential for a feminist monstrous politics of organisation.

First, the author exposes the basis on which the monstrous-feminine articulates and disarticulates femininity, that is to say, how a feminist analysis of monsters may enable but also foreclose a positive articulation of disruption, disorder and disorganisation central to the conceptualisation of monsters. This is done through a reading of the maternal-feminine and literature on motherhood in organisation studies. Second, the author locates the monstrous-feminine in the body and explores how maternal bodies are constructed and experienced as monstrous as they disrupt the self/other relationship. This analysis suggests that embodying the monster comes with risks and that different configurations of the monstrous maternal are necessary for equality and inclusion in the workplace.

The paper identifies and contributes to growing research on the ambivalence of monsters and expands a neglected area of the feminine and maternal aspects of these relationships and what this means for workplace relations.

This chapter explores the episodes of Doctor Who featuring the Weeping Angels, in order to explore how their femininity impacts their monstrosity. Other (male) monsters in Doctor Who kill the victims outright: Daleks exterminate their victims and Cybermen upgrade (essentially extracting all of their humanity, turning them into mindless robots) their victims. The only reoccurring feminine monsters, the Weeping Angels, do not kill anyone. They don’t take away their humanity; they simply transport them to another time. They live out their entire lives in this new time, unharmed beyond the inconvenience of temporal displacement.

The Weeping Angels could be analysed as a reversal of Barbara Creed’s monstrous feminine (1993); as their femininity makes them more human and more compassionate instead of more monstrous. They also could be thought of in terms of feminist ethics à la Nel Noddings’ feminist approach to care. In this chapter, I will argue that though traditionally villainous women are made monstrous via their femininity; in the case of the Weeping Angels, their femininity gives them a sense of humanity and compassion, thus making them less monstrous.

Since 2004, Turkish cinema has been witnessing an emergence of horror genre, now flooded with stories of possession by malevolent jinn, as transgressive, volatile figures of abjection. These female-centred narratives rely both on Islamic cosmology and myths and folktales of pre-Islamic Anatolian oral culture. The chapter will first explore the reasons horror has been neglected in the century-long history of cinema in Turkey and move on to highlight the socio-economic, cultural, and political contexts that were catalysts for the horror genre’s emergence. Then, the chapter will discuss the codes and conventions of the genre and explore the unique place of Alper Mestçi’s 2007 film Haunted (Musallat), among its contemporaries in terms of the ways in which the film challenges these established codes and conventions. In analysing Haunted, the chapter will use the theoretical framework of Barbara Creed, Carol J. Clover and Julia Kristeva to discuss the monstrous-feminine and masculinity as abjection.

Grave (English title: Raw), the 2016 feature film debut from French writer/director Julia Ducournau, is a body horror that explores cannibalism in a contemporary setting. A vegetarian student, Justine, develops cannibalistic desires after she is forced to eat rabbit kidneys in a hazing ritual at a veterinarian school.

This film portrays the female cannibal as having lost control of her bodily impulses. Justine displays a loss of cognition that results in involuntary actions when confronted with raw flesh. One can observe parallels in this portrayal and that featured in earlier films Dans ma peau (In my Skin, 2002, dir. Marina de Van) and Trouble Every Day (2001, dir. Claire Denis). These two films are identified with the early twenty-first-century French ‘cinema of the body’ trend, which involves disturbing and horrific portrayals of alienated protagonists, sexual debasement and transgressive urges.

In my exploration of the mind/body divide featured in Grave, I’ll argue that the film moves away from portrayals of the cannibal in the two earlier films, as we now observe a female protagonist who is actively engaged in meaningful relationships with others. As such, Justine seeks connection rather than disconnection from those around her, with varying levels of success.

This chapter seeks to compare and contrast two compelling portrayals of the bisexual or ‘gender-blind’ vampire: The Hunger (1983) and American Horror Story: Hotel (2015). These texts present a number of notable differences. They were released over 30 years apart and they also diverge markedly in form: Hotel is a 12-episode television serial, whilst The Hunger is a tight 97-minute-feature film. Whilst these differences highlight shifts in the format of horror more broadly, they also facilitate the reflection on whether the portrayal of the bisexual vampire has dramatically shifted alongside these changes. Such a reflection is ripe with potential given that in addition to their differences, both texts also share significant aesthetic and narrative similarities. Both Hotel and The Hunger foreground performativity and feature female protagonists who defy heteronormative understandings of gender and sexuality. Undoubtedly, Hotel can be read as an aesthetic homage to The Hunger. However, whether Hotel also echoes some of the more conservative aspects of the earlier film’s politics is a more complex question. Focusing on the ways that these female vampire protagonists, as well as a selection of their lovers and victims, are gendered, this chapter will illuminate a number of developments and lingering issues in the ways that horror depicts (or circumvents) complex facets of the relationship between bisexuality and gender.

The woman has appeared in many films as an unknown dangerous monster for men. Barbara Creed, in The Monstrous-Feminine. Film, Feminist, Psychoanalysis (1993), recognized the fear of women as a vampire and as witch. Masters of Horror (Showtime, 2005–2007) is a TV series that focuses their attention on distinct monsters, including female monster.

The aim of this chapter is to analyze some episodes of these two acclaimed TV series: ‘Deer Woman’ (Season 1 Episode 7) and ‘Jenifer’ (Season 1 Episode 4), in Masters of Horror. Both episodes show the struggle between the female threatening monster and the defensive male normalcy, where liberated women (they break the established rules) resist the males’ domination through cultural transgressions.

This chapter is based on different methodologies: cultural studies, history, discourse analysis and TV studies. That way, it will be essential to delve into the different readings about woman as a monster (dangerous creature for the established order) and as the otherness, where the flesh temptations (cannibalism, sex) and supernatural narrations place her outside society.