In this text the role of the alien in the 2014 movie “Under the Skin” by Jonathan Glazer shall be examined and analyzed. The alien will be categorized and characterized as a hybrid form and embodies three different types of monstrosity which intermingle. In order to support this thesis various film scenes and motifs will be analyzed. At the beginning, I will perform a general introduction of the alien as figure in cultural history. Following this, I am going to introduce Tzvetan Todorov’s concept of the Fantastic as the type of genre that can be related heavily to the film Under the Skin.
The main part will be occupied by an analysis of several forms of monstrosity in the film which is divided into three parts, the alien as monstrous serial killer, the alien as monster because of its alien nature and at last the alien as a symbol for female monstrosity. Within the literature that is going to be used, especially Kristeva´s concept of abjection and Judith Butler´s theory regarding performance and performativity shall be applied as two of the most important concept of the recent research. Regarding monstrosity the work of Cohen with its seven theses about monstrosity is used to provide a foundation for the analysis
The film Under the Skin was directed by Jonathan Glazer and bases on the novel of the same name by Michel Faber. It was not a big box office hit but received intense praise by critics and was described as one of the best films in 2014, not only because of its mix of different genres. The movie was released on the 14th of March and deals with a female Alien, played by Scarlett Johansson, who is killing men in Scottish towns. Many of the roles in the film were played by non-professional actors and other scenes were unscripted and filmed with hidden cameras to produce authentic scenes.
Inhaltsverzeichnis (Table of Contents)
- Introduction
- History of the Alien in the Popular Culture
- Science-Fiction, Aliens and the Fantastic
- Seven Theses about Monstrosity
- The Alien as Serial Killer
- The Alien as the monstrous Other
- The Alien as monstrous female
- Conclusion
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This analysis aims to explore the portrayal of the alien in Jonathan Glazer's film "Under the Skin," examining its multifaceted nature and the ways in which it embodies different forms of monstrosity. The analysis utilizes film scenes and motifs to support its thesis that the alien is a hybrid form, encompassing three distinct types of monstrosity.
- The alien as a figure in cultural history
- Todorov's concept of the fantastic and its application to "Under the Skin"
- Different forms of monstrosity in the film (serial killer, monstrous other, monstrous female)
- The use of Kristeva's concept of abjection and Butler's theories of performance and performativity
- Cohen's seven theses on monstrosity as a framework for analysis
Zusammenfassung der Kapitel (Chapter Summaries)
Introduction: This introductory chapter sets the stage for an analysis of the alien character in Jonathan Glazer's film "Under the Skin." It establishes the film's critical acclaim and box office performance, highlighting its unique blend of genres. The chapter introduces the central thesis: the alien is a hybrid, embodying three interconnected forms of monstrosity. The methodology is outlined, indicating that the analysis will examine film scenes and motifs to support this argument, beginning with a general introduction to the alien's cultural history and subsequently exploring Todorov's concept of the fantastic as a relevant genre framework. The chapter also previews the main analytical concepts, mentioning Kristeva's work on abjection and Butler's theories of performance, along with Cohen's seven theses on monstrosity as key theoretical tools for understanding the film's portrayal of the alien.
History of the Alien in the Popular Culture: This chapter traces the cultural history of the alien figure, connecting its origins to astronomical advancements and humanity's enduring fascination with imaginary beings. It demonstrates how the concept of extraterrestrial life has evolved into a significant worldview, emphasizing the diversity of scientific opinions and interpretations surrounding UFO phenomena. The chapter explores the genre of science fiction as the birthplace of the alien character, highlighting its transformation from a purely space-faring entity to a complex philosophical and ethereal being. It discusses the alien's role in postmodern identity politics, connecting its otherness to the experiences of marginalized groups. The chapter concludes by examining the shift in the portrayal of aliens in film, from optimistic representations to a more anarchistic depiction of the inhuman and monstrous other, and the alien's increasingly relevant role in contemporary anxieties about multiculturalism and identity.
Science-Fiction, Aliens and the Fantastic: This chapter connects science fiction motifs with Todorov's concept of the fantastic, arguing that "Under the Skin" employs elements that create a sense of uncertainty and ambiguity for the viewer. It explains Todorov's definition of the fantastic as an event that challenges the established laws of reality, leading to a hesitation between belief in illusion and acceptance of a supernatural event. The chapter details the three conditions Todorov outlines for the existence of the fantastic and distinguishes between the fantastic, the uncanny, and the marvelous. The chapter then specifically analyzes how "Under the Skin" utilizes the fantastic, focusing on scenes that defy easy explanation and the sustained ambiguity regarding the alien's nature. The chapter concludes by explaining how the reveal of the alien's true form shifts the narrative from the fantastic to the marvelous.
Seven Theses about Monstrosity: This chapter introduces Jeffrey Jerome Cohen's seven theses on monstrosity as a framework for analyzing the alien in "Under the Skin." It elaborates on Cohen's argument that the monster's body is a cultural construct reflecting anxieties, desires, and fantasies, functioning as a displacement from societal norms. The chapter also explores Cohen's concept of the monster's ability to escape and reappear, highlighting its dualistic nature as a both physical and non-physical threat embodying otherness. This foundational chapter prepares the ground for the next sections, where these theoretical frameworks will be used to analyze the alien's specific manifestations of monstrosity within the film.
Schlüsselwörter (Keywords)
Alien, monstrosity, science fiction, Todorov's fantastic, Kristeva's abjection, Butler's performativity, Cohen's monster theory, "Under the Skin," otherness, identity, film analysis, cultural discourse.
Frequently Asked Questions: Analysis of Monstrosity in Jonathan Glazer's "Under the Skin"
What is the main topic of this analysis?
This analysis explores the portrayal of the alien in Jonathan Glazer's film "Under the Skin," focusing on its multifaceted nature and how it embodies different forms of monstrosity. The analysis uses film scenes and motifs to support the thesis that the alien is a hybrid form, encompassing three distinct types of monstrosity.
What are the key themes explored in the analysis?
Key themes include the alien's role in cultural history, Todorov's concept of the fantastic, different forms of monstrosity (serial killer, monstrous other, monstrous female), Kristeva's concept of abjection, Butler's theories of performance and performativity, and Cohen's seven theses on monstrosity.
What is the structure of the analysis?
The analysis is structured into chapters covering an introduction, the history of the alien in popular culture, science fiction, aliens, and the fantastic, seven theses about monstrosity, and a conclusion. Each chapter offers a detailed exploration of specific aspects related to the alien's portrayal and its symbolic meaning.
Which theoretical frameworks are used in the analysis?
The analysis utilizes several theoretical frameworks, including Todorov's concept of the fantastic (to understand the film's genre), Kristeva's work on abjection (to analyze the alien's disturbing nature), Butler's theories of performance and performativity (to explore the alien's constructed identity), and Cohen's seven theses on monstrosity (as a primary lens for interpreting the alien's different forms of monstrosity).
How does the analysis interpret the alien character?
The analysis interprets the alien as a hybrid figure embodying three interconnected forms of monstrosity: as a serial killer, as the monstrous Other, and as the monstrous female. These interpretations are supported by analyzing specific scenes and motifs within the film.
What is the significance of Cohen's seven theses on monstrosity in this analysis?
Cohen's seven theses on monstrosity provide the foundational framework for understanding the alien's portrayal. They help to explain how the monster's body is a cultural construct, reflecting societal anxieties and desires, and how the monster's ability to escape and reappear highlights its dualistic nature as both a physical and non-physical threat.
What are the key takeaways from the analysis of "Under the Skin"?
The analysis concludes that the alien in "Under the Skin" is not simply a creature from outer space, but a complex symbol that embodies cultural anxieties about otherness, identity, and the monstrous female. Its multifaceted nature makes it a rich subject for exploring themes of abjection, performativity, and the cultural construction of monstrosity.
What are the keywords associated with this analysis?
Keywords include: Alien, monstrosity, science fiction, Todorov's fantastic, Kristeva's abjection, Butler's performativity, Cohen's monster theory, "Under the Skin," otherness, identity, film analysis, cultural discourse.
- Quote paper
- B.A. Fabian Lukas (Author), 2015, Monstrosity and Hybridity in Jonathan Glazer's "Under the Skin", Munich, GRIN Verlag, https://www.grin.com/document/321383
