280
Views
0
CrossRef citations to date
0
Altmetric
Articles

“It’s not really a cat”: art, media, and queer wildness in Cat People (1942, 1982)

Pages 236-266 | Received 27 Dec 2020, Accepted 07 Jul 2021, Published online: 30 May 2023

References

  • Aloi, Giovanni. 2018. Speculative Taxidermy: Natural History, Animal Surfaces, and Art in the Anthropocene. New York: Columbia University Press.
  • Baird, Robert. 2000. “The Startle Effect: Implications for Spectator Cognition and Media Theory.” Film Quarterly 53 (3): 12–24. doi:10.2307/1213732.
  • Berger, John. 1980. “Why Look at Animals?” In About Looking, 3–28. New York: Pantheon Books. https://archive.org/details/aboutlooking00berg/page/n5/mode/2up
  • Bodeen, DeWitt. 1942. Script of Cat People. American Film Scripts. Alexander Street Press.
  • Boozer, Jack. 1999. “The Lethal Femme Fatale in the Noir Tradition.” Journal of Film and Video 51 (3/4): 20–35.
  • Bora, Renu. 1997. “Outing Texture.” In Novel Gazing: Queer Readings in Fiction, edited by Eve Kosofsky Sedgwick and Q Series, 94–127. Durham, NC: Duke University Press.
  • Bryan-Wilson, Julia. May, 2015. “Simone Forti Goes to the Zoo.” October 152 (May): 26–52. doi:10.1162/OCTO_a_00215.
  • Bryson, Norman. 1997. “Mark Dion and the Birds of Antwerp.” In Mark Dion, edited by Lisa Graziose Corrin, Miwon Kwon, and Norman Bryson, 88–97. London: Phaidon.
  • Carroll, Noël. 1981. “Nightmare and the Horror Film: The Symbolic Biology of Fantastic Beings.” Film Quarterly 34 (3): 16–25. doi:10.2307/1212034.
  • Chen, Mel Y. 2012. Animacies: Biopolitics, Racial Mattering, and Queer Affect, 5. Durham, NC: Duke University Press.
  • Cohen, Jeffrey Jerome, ed. 1996. Monster Culture (Seven Theses). In Monster Theory: Reading Culture, 3–25. Minneapolis: University of Minnesota Press.
  • Creed, Barbara. January 1, 1986. “Horror and the Monstrous-Feminine: An Imaginary Abjection.” Screen 27 (1): 44–71. doi:10.1093/screen/27.1.44.
  • Creed, Barbara. 1993. “Dark Desires: Male Masochism in the Horror Film.” In Screening the Male: Exploring Masculinities in Hollywood Cinema, edited by Steven Cohan and Ina Rae Hark, 118–133. London: Routledge.
  • Creed, Barbara. March, 2015. “Films, Gestures, Species.” Journal for Cultural Research 19 (1): 43–55. doi:10.1080/14797585.2014.920182.
  • Deleuze, Gilles, and Félix Guattari. 1987. A Thousand Plateaus: Capitalism and Schizophrenia Translated by Brian Massumi. Minneapolis: University of Minnesota Press.
  • Edelman, Lee. 2004. No Future: Queer Theory and the Death Drive. Durham, NC: Duke University Press.
  • Fischer, Dennis. 1991. Horror Film Directors: 1931–1990. Jefferson, NC: McFarland.
  • Fujiwara, Chris. 1998. Jacques Tourneur: The Cinema of Nightfall. Jefferson, NC: McFarland.
  • Govindrajan, Radhika. 2018. Animal Intimacies: Interspecies Relatedness in India’s Central Himalayas. Chicago: The University of Chicago Press.
  • Gregersdotter, Katarina, Johan Anders Höglund, and Nicklas Hållén, eds. 2015. Animal Horror Cinema: Genre, History and Criticism, 1–18. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
  • Grosoli, Marco. 2011. “Drying Blood: De-Sexualization and Style in Paul Schrader’s Cat People.” In Roman Catholicism in Fantastic Film: Essays on Belief, Spectacle, Ritual and Imagery, edited by Regina Hansen, 140–151. Jefferson, NC: McFarland.
  • Gunning, Tom. January 1, 1988. “‘Like Unto a Leopard’: Figurative Discourse in ‘Cat People’ (1942) and Todorov’s the Fantastic”. Wide Angle; Athens, Ohio 10 (3): 30–39.
  • Halberstam, Jack. 2020. Wild Things: The Disorder of Desire, Perverse Modernities . Durham: Duke University Press.
  • Hollinger, Karen. 1989. “The Monster as Woman: Two Generations of Cat People.” Film Criticism 13 (2): 36–46.
  • Jancovich, Mark. 2012. “Relocating Lewton: Cultural Distinctions, Critical Reception, and the Val Lewton Horror Films.” Journal of Film and Video 64 (3): 21–37. doi:10.5406/jfilmvideo.64.3.0021.
  • Jancovich, Mark. 2015. “‘Antique Chiller’: Quality, Pretention, and History in the Critical Reception of the Innocents and the Haunting.” In Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era, edited by Murray Leeder, 115–128. New York: Bloomsbury Academic, An imprint of Bloomsbury Publishng Inc.
  • Kouvaros, George. 2008. Paul Schrader. Urbana: University of Illinois Press.
  • Meehan, Paul. 2011. Horror Noir: Where Cinema’s Dark Sisters Meet. Jefferson, NC: McFarland & Co.
  • Morton, Timothy. 2008. “Ecologocentrism: Unworking Animals.” SubStance 37 (3): 73–96. doi:10.1353/sub.0.0019.
  • Mulvey, Laura. 2004. “Visual Pleasure and Narrative Cinema.” In Film Theory and Criticism: Introductory Readings, edited by Leo Braudy and Marshall Cohen, 803–816. New York: Oxford University Press.
  • Nemerov, Alexander. 2005. Icons of Grief: Val Lewton’s Home Front Pictures. Berkeley: University of California Press.
  • Newman, Kim. 2013. Cat People, 2nd ed. BFI Film Classics. London: British Film Institute.
  • Paige, Linda Rohrer. 1997. “The Transformation of Woman: The ‘Curse’ of the Cat Woman in Val Lewton/Jacques Tourneur’s Cat People, Its Sequel, and Remake.” Literature/Film Quarterly; Salisbury 25 (4): 291–299.
  • Pick, Anat. 2011. Creaturely Poetics: Animality and Vulnerability in Literature and Film. New York: Columbia University Press.
  • Pick, Anat. January 1, 2015. “Why Not Look at Animals?” NECSUS European Journal of Media Studies 4 (1): 107–125. doi:10.5117/NECSUS2015.1.PICK.
  • Roberts, Jim. 1997. “Becoming Cat, Becoming Irena: Deleuze, Guattari, and Cat People.” Enculturation: A Journal for Rhetoric, Writing, and Culture 1 (1): n.p.
  • Rudy, Kathy. August, 2012. “LGBTQ … Z?” Hypatia 27 (3): 601–615. doi:10.1111/j.1527-2001.2012.01278.x.
  • Sadowski, Piotr. 2018. The Semiotics of Light and Shadows: Modern Visual Arts and Weimar Cinema. New York, NY: Bloomsbury Academic.
  • Schrader, Paul. 1988. Transcendental Style in Film: Ozu, Bresson, Dreyer. New York: Da Capo Press.
  • Schrader, Paul, and Kevin Jackson. 2004. Schrader on Schrader, Rev. ed. London: Faber.
  • Siegel, Joel E. 1972. Val Lewton: The Reality of Terror. London: Secker and Warburg; British Film Institute.
  • Siegert, Bernhard. 2015. “Waldmenschen, Wolfskinder, Cat People und Andere ‘Thiermenschen’: Kehrbilder der anthropologischen Differenz.” In Mediale Anthropologie, edited by Christiane Voss and Lorenz Engell, 183–200. Tagung, Paderborn: Fink.
  • Stewart, Garrett. 2003. “Dickens, Eisenstein, Film.” In Dickens on Screen, edited by John Glavin, 122–144. Cambridge: Cambridge University Press.
  • Telotte, J. P. 1985. Dreams of Darkness: Fantasy and the Films of Val Lewton. Urbana: University of Illinois Press.
  • Telotte, J. P. November, 2010. “Lewtonian Space: Val Lewton’s Films and the New Space of Horror.” Horror Studies 1 (2): 165–175. doi:10.1386/host.1.2.165_1.
  • Trapp, Frank Anderson. 1977. “The Emperor’s Nightingale: Some Aspects of Mimesis.” Critical Inquiry 4 (1): 85–103. doi:10.1086/447925.
  • Tuan, Yi-Fu. 2007. “Animal Pets: Cruelty and Affection.” In The Animals Reader: The Essential Classic and Contemporary Writings, edited by Linda Kalof and Amy J. Fitzgerald, 141–153. Oxford: Berg.
  • Wood, Robin. 1972. “The Shadow Worlds of Jacques Tourneur.” Film Society 8 (2): 64–70.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.