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4.0 out of 5 stars
Monster queers on the rampage., May 6 2000
Ce commentaire est de: Monsters in the Closet: Homosexuality and the Horror Film (Inside Popular Film) (Paperback)
In spite of having a context of sociological theory, this is a racy even humorous tour of the subject from the 1930s to the 1980s. There are a number of themes, for example the projection of gays on the screen as a threat to "normal" family values and the links between violence and sexual difference. Here and there the author may be over the top. Thus the notion of the Frankenstein monster having a physical relationship with the blind hermit or, in a later film with Ygor, will not be believed by all. But Benshoff would not claim to be uncontroversial. And he is certainly right in his conclusion that horror movies are influential in defining gay sub culture more generally. In the words of the personal ad, "Count Dracula seeks Jonathan Harker for fun times."
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5.0 out of 5 stars
Fascinating, Thought-Provoking Book, April 18 2000
Ce commentaire est de: Monsters in the Closet: Homosexuality and the Horror Film (Inside Popular Film) (Paperback)
I found this to be a very interesting treatment of a fascinating topic. Comparatively jargon-free, and entirely accessible to anyone interested enough to pick it up and read it seriously. Benshoff does not claim that his is the only view of the films considered. He offers his perspective on these films, and it is a most interesting and fresh look at a group of films all too often ignored. Well worth reading.
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1.0 out of 5 stars
Silly, silly book, Oct 8 1999
By A Customer
Ce commentaire est de: Monsters in the Closet: Homosexuality and the Horror Film (Inside Popular Film) (Paperback)
Early in the book, author Benshoff tips his hand when he starts quoting Foucault. This means that we are in the land of deconstructionism where there is no reality, no truth-everything is because the writer says it is-so there! No proof of any of his assertions are necessary. Why should there be? There are no facts-everything is relative so why bother? One could point out the factual errors, the contradictions in logic within the book, the points where the author contradicts himself, the statements about films that are not justified by even a cursory examinatation of the films in question. One could point to the intentions of the film makers involved. One could but what would be the point? The book exists in its own world where facts, logic, consistency and linear thought do not exist. None of the above points would apply in this world. Monsters in the Closet floats in a miasma of unreality. The book is unreviewable.
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