Abstract
This paper explores the concept of cinematic monstrosity, as derived from work by Jean-Luc Nancy, and links it to monstration, a term typically reserved for considerations of early (pre-1907) cinema. The paper proposes that all cinema monstrates, or shows, as much as it tells, or narrates. Drawing again on Nancy, the paper then explores the concept of cruelty, arguing that the cruelty, or monstrous nature, of cinema is made most clear not only in films that deploy monstrative techniques, but also in films that explore monstrous and cruel themes.
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