Bruna Foletto Lucas

“I didn’t sin, momma”: Female monstrosity and feminist complexities in Carrie (1976) and Carrie (2013)

Introduction

“i didn’t sin, momma”: female monstrosity and feminist complexities in carrie (1976) and carrie (2013) . Explore female monstrosity & feminist complexities in Carrie (1976, 2013) vs. King's novel. Analyze horror's evolution & its integration of feminist discourse in film.

Abstract

This chapter analyzes Kimberly Peirce’s Carrie (2013) in contrast to Stephen King’s novel (1974) and Brian De Palma’s film (1976) to trace the evolution of horror and its engagement with feminist discourse over time, situating Peirce’s approach within a broader framework of genre reconfiguration and socio-political consciousness. This analysis identifies a broader trend within contemporary horror films, where feminist themes are increasingly integrated into the genre. The chapter argues that Peirce’s Carrie represents a significant evolutionary juncture in horror cinema by embracing and reworking established conventions rather than subverting them, tapping into the genre’s generative potential as elucidated by scholars such as Jane Gaines and Katarzyna Paszkiewicz. Ultimately, this examination underscores Peirce’s Carrie not merely as a cinematic adaptation but as a nuanced exploration of female monstrosity and feminist complexities within the horror genre. Through its engagement with the legacy of King’s novel and De Palma’s film, Peirce’s Carrie stands as a vital contribution to the ongoing evolution of horror cinema and its engagement with feminist discourse.

Review

This chapter presents a compelling and timely analysis, promising a deep dive into the evolution of horror cinema's engagement with feminist discourse through the lens of the *Carrie* adaptations. By focusing on Kimberly Peirce’s 2013 film in contrast to Stephen King’s original novel and Brian De Palma’s 1976 cinematic predecessor, the study sets out to trace significant shifts in genre reconfiguration and socio-political consciousness. The central premise, examining Peirce’s iteration as a key evolutionary juncture, establishes a promising framework for exploring how contemporary horror integrates and reinterprets feminist themes, positioning the chapter as highly relevant to current academic discussions. A notable strength of this proposed chapter lies in its clear articulation of Peirce’s *Carrie* as a film that strategically embraces and reworks established genre conventions rather than merely subverting them. This analytical approach, informed by scholars such as Jane Gaines and Katarzyna Paszkiewicz, suggests a sophisticated understanding of horror's "generative potential" in addressing female monstrosity and feminist complexities. The chapter's aim to identify a broader trend of increasing feminist integration within contemporary horror is particularly pertinent, positioning Peirce’s work as a vital contribution to this ongoing cinematic and critical dialogue. The promise of a "nuanced exploration" indicates a rigorous and thoughtful engagement with the material. To fully realize its significant potential, the chapter should ensure a robust and detailed unpacking of these "feminist complexities" across the adaptations. While the abstract effectively highlights Peirce's film as an evolutionary step, it would be beneficial for the analysis to explicitly delineate *how* the depiction of female monstrosity specifically shifts in its feminist implications from De Palma to Peirce, beyond simply acknowledging an "evolution." Further elaboration on *why* reworking conventions, as opposed to subverting them, is particularly potent for a feminist reading in this context, would strengthen the theoretical contribution. Overall, this chapter is poised to be an insightful and valuable addition to both horror film studies and feminist media criticism.

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