Abstract
A domestic noir turns the home or workplace into an uncanny space of danger. A gynaehorror film depicts the reproductive body as monstrous. This essay analyses The Invisible Man, The Girl on the Train, and Gone Girl as gynaenoirs, an assemblage of domestic noir and gynaehorror, to show how women are terrorized through their reproductive bodies. By examining how characters in these narratives experience reproductive suffering, one can better understand women’s lives under pronatalist, neoliberal patriarchy.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
