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Gender Meets Genre in Postwar Cinemas$
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Christine Gledhill

Print publication date: 2012

Print ISBN-13: 9780252036613

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252036613.001.0001

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Gender Hyperbole and the Uncanny in the Horror Film

Gender Hyperbole and the Uncanny in the Horror Film

The Shining

(p.146) Chapter 11 Gender Hyperbole and the Uncanny in the Horror Film
Gender Meets Genre in Postwar Cinemas

Katie Model

University of Illinois Press

This chapter examines Stanley Kubrick's film, The Shining (1980), based on Stephen King's eponymous novel (1977). Applying the Freudian concept of the “uncanny” to Jack Nicholson's performance the film, it suggests how genre and star performance generate horror in the aporias of cultural gender. Rather than the ambivalence of the fantastic premised on difference, the chapter emphasizes the uncanniness of hyperbole grounded in repetition. Thus, The Shining draws out from Nicholson's self-parodying performance a hyperbolic rendition of masculinity: a doubling that makes the gender norm itself a source of a horror, doubled again through haptic star-audience contact.

Keywords:   horror films, The Shining, Jack Nicholson, uncanny, cultural gender, hyperbole, gender

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