Deleuze and the Gynesis of Horror

Applying Deleuze's schizoanalytic techniques to film theory <i>Deleuze and the Gynesis of Horror</i>demonstrates how an embodied approach to horror film analysis can help us understand how film affects its viewers and distinguish those films which reify static hegemonic molar beings from those which prompt fluid nonbinary molecular becomings. It does so by analyzing the politics of reproduction in contemporary films such as <i>Ex Machina; Mary Shelley's Frankenstein; Mad Max: Fury Road; the Twilight saga</i>; and the original <i>Alien</i>quadrilogy and its more recent prequels <i>Prometheus</i>and<i> Alien: Covenant</i>. <br/><br/>Author Sunny Hawkins argues that films which promote a monstrous philosophy of qualitative affirmative difference as difference-in-itself and which tend to be more molecular than molar in their expressions can help us trace a line of flight from the gender binary in the real world. <i>Deleuze</i> <i>and</i> <i>the Gynesis of Horror</i>demonstrates how the techniques of horror film - editing sound and visual effects lighting and colour camera movement - work in tandem with a film's content to affect the viewer's body in ways that disrupt the sense of self as a whole unified subject with a stable monolithic identity and in some cases can serve to breakdown the binary between self/Other as we come to realize that we are none of us static categorizable beings but are as Henri Bergson said living things constantly becoming.