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Table of contents

Engaging with this concept of the generic hybridity of Transformation TV it is necessary to look at how The Swan uses the conventions of the horror movie. Preoccupations with the darker side of looking are most apparent in horror movies, which tend to move the audience through a range of emotional responses, from anticipation, to fear through to outright terror.

For the majority of people the Dental Surgery is a site of terror, with its many tools capable of inflicting intense pain, and it has been featured as a place of torture and horror in films like Marathon Man The parallel between their appearance at this stage and the depiction of a classic horror movie monster is undeniable and the contestant in the clip even identifies herself as a monster.

Rotten teeth are a signifier of a rotten nature; bodily decay is equated with moral decay. Identification at this point is important, as the audience needs to directly experience the horror of looking this way. Instead of the body remaining the focus throughout, Spectacle shifts between the body and agents of transformation.

When we first see the women before surgery, they are in the unflattering blue hospital gowns. These guidelines have many connotations but are particularly reminiscent of the scene in Silence of The Lambs where Clarice discovers that Buffalo Bill is constructing his feminine identity from the skins of his victims.

We now have the power to narrate our own corporeal presence. This impression is sustained by the filming of the actual surgery. The Spectacle is shifted away from the body to the site of surgery. The operating room, the instruments, the medical technology, the gowned and masked surgeons and nurses become the focus of Spectacle. Here we return to the conventions of the Melodrama. Unlike Extreme Makeover, where surgery is displayed in detail, The Swan contracts time and the operations disappear in a blur of accelerated time. One of the reasons for this formal device is the close identification between the viewer and the viewed sought for by the programme creators.

The surgery therefore must be perceived as quick and non-invasive, in order to maintain the fiction of the body as plastic. Identification of the audience with the protagonist is therefore enforced, enabling a deeper absorption into the fiction. The pleasures experienced by the contestant as her own voyeur, whilst contemplating a body that is known but unknown, familiar but unfamiliar, are complex and many. The body has become a successful project completed; the body now conforms to the ideal image; the body has been contained and disciplined; the body is power; the body is plastic.

For the other voyeurs — the experts and the TV audience, what pleasures are received? The spectacle has taken its audience through a journey of vicarious and heightened emotional narratives contained in and expressed by transgressive bodies.

Name Your Monster

The monster is overcome and banished; but is the beast-flesh vanquished or merely suppressed? Has the monstrous woman simply been turned inside out, so that her transgressive nature now dwells inside instead of out?

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The Real Monsters These questions lead to the conclusion that all is not as perfect and ideal as it seems. After experiencing the entire series and reaching the final Beauty Pageant it becomes apparent that the ideal body and face reproduced twelve times creates an unnerving sense of repetition and cloning. Are they the transgressive and imperfect bodies we observe at the beginning of the programmes, or are they the cloned and terrifyingly perfect Beauty Queens revealed at the end. Regents of the University of California, Davis, K.

Forbes, B. Penguin Books, Jacobs, J. BFI Publishing, Mulvey, L. Later, in the early modern period, it was possible to explain anomalous beings in terms of variations of normal development. On the other, it links critically the representations of hermaphrodites with the clinical gaze of the medical establishment.

Thus, the hermaphrodite body with its simultaneous lack small penis and excess big clitoris overspills the boundaries and becomes monstrous. It will therefore show how differences of the bodily kind are dealt with within both personal and scientific discourse. Herculine Barbin and Middlesex are both books about pseudo-hermaphrodites that had female childhoods and male adulthood.

Thus, my paper also plans to answer the following question: how to liberate sexual positionalities, one of which is hermaphroditism itself, which are unthinkable because, no longer mastered by opposition and representation, they function as pure difference? As Foucault puts it, To liberate difference we need a thought without contradiction, without dialectic, without negation: a thought that says yes to divergence; affirmative thought whose instrument is disjunction; a thought of the multiple- of the nomadic and dispersed multiplicity that is not limited or confined by the constraints of self-similarity.

Monsters are human beings who are born with congenital malformations of their bodily organism.

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They also represent the in between, the mixed, the ambivalent as implied in the ancient Greek root of the word monsters, teras, which means both horrible and wonderful, object of aberration and adoration. Since the nineteenth century, following the classification system of monstrosity by Geoffroy Saint- Hilaire, bodily malformations have been defined in terms of excess, lack, or displacement of organs The monster is the bodily incarnation of difference from the basic human norm; it is a deviant, an a-nomaly; it is abnormal. Hybrids of nature and technology, as well as of culture and social reality, they transgress and put into question normal measurements and classifications, as well as issues of gender and reproduction.

The concept of monster involves a certain engagement with borders and boundaries.

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They might be perceived as creatures who dominate and threaten. Yet, by locating monstrosity primarily within monstrous gender and monstrous sexuality, Judith Halberstam writes that the monster always represents the disruption of categories, the destruction of boundaries, and the presence of impurities and so we need monsters and we need to recognize and celebrate our own monstrosities. How can the hermaphrodite speak? Raised as a girl she became a female teacher in her early twenties. Her medical discovery as truly male actually only happened after her suicide, but medical attention was devoted earlier.

This medical attention was caused by her search for support concerning her desire for her virginal girl friend Sara.

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In his introduction to the autobiography of the nineteenth-century hermaphrodite, Michel Foucault addresses the question of the truth of sexuality, especially the truth as sought and defined by the legal and medical-psychiatric authorities of the period. Foucault goes on to say, But later on the threshold of adulthood, when the time came for them to marry, hermaphrodites were free to decide for themselves if they wished to go on being of the sex which had been assigned to them, or if they preferred the other. The only imperative was that they should not change it again but keep the sex they had then declared until the end of their lives, under pain of being labelled sodomites.

The scientific establishment insisted that every human subject must be biologically grounded in one and only one sex. Everybody was to have his or her primary, profound, determined and determining sexual identity; as for the elements of the other sex that might appear, they could only be accidental, superficial, or even quite simply elusive. From the legal point of view, this obviously implied the disappearance of free choice. It was no longer up to the individual to decide which sex he wished to belong to, juridically or socially.


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Rather, it was up to the expert to say which sex nature had chosen for him and to which society must consequently ask him to adhere. It was not the size of an organ but the use of it that was the problem. But did she truly feel like a man? I, who had been raised until the age of twenty-one in religious houses, among shy female companions, was going to leave that whole delightful past far behind me, like Achilles, and enter the lists, armed with my weakness alone and my deep inexperience of men and things.

At the very least, it appears that Alexina felt herself radically unprepared to live in the world of men, as a man.

And indeed, within a few years of having her civil status changed, Alexina did kill herself, though not without first leaving a record of her life behind. From this point on, Alexina can be perceived as a tragic and pitiful creature who suffered terribly, precisely because she could not have an identity of choice, an option for her true identity, which finally led her to suicide. What really makes Alexina look monstrous is her own misery induced by her fear of a morbid sexuality, a sexuality defined by others as being wrong.

The monster that she consequently became is the very creation of the Western culture.

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Weiss emphasizes, for instance, the intensification of the term monster through the passions of fascination and horror. By intensification she means some form of other-ing, the thing we call monster and the desire for it. This intensification is not of visibility or equality but precisely of discourse. We are only monsters in reference to those who call us monsters. The political nature of monsters seems to come directly from the acts of naming and defining, not the nature of the object named. There is no essential non-contingent thing named monster. All acts of naming, metaphoric or not, have the capacity to compel the corporeal performance of the name given, so even metaphor is not incapable of material effect.

Was Alexina trapped in a name? I was born twice: first, as a baby girl, on a remarkably smogless Detroit day in January of ; and then again, as a teenage boy, in an emergency room near Petoskey, Michigan, in August of This tall, broad- shouldered and non-menstruating girl knows she is not quite normal. The charismatic Dr. The narrative goes like this, Callie is a girl who has a little too much male hormone.

First, hormone injections. Second, cosmetic surgery. The hormone treatments will initiate breast development and enhance her female secondary characteristics. In fact, she will be that girl. Her outside and inside will conform. She will look like a normal girl. Nobody will be able to tell a thing. And then Callie can go on and enjoy her life. Hermaphrodite — 1. One having the sex organs and many of the secondary sex characteristics of both male and female.