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Skin deep: surgical horror and the impossibility of becoming woman in Pedro Almodóvar's 'The Skin I Live In'

Research output: Contribution to Journal/Magazine › Journal article › peer-review

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Skin deep: surgical horror and the impossibility of becoming woman in Pedro Almodóvar's 'The Skin I Live In'. / Aldana Reyes, Xavier.
In: Bulletin of Hispanic Studies, Vol. 90, No. 7, 2013, p. 819-834.

Research output: Contribution to Journal/Magazine › Journal article › peer-review

Harvard

Aldana Reyes, X 2013, 'Skin deep: surgical horror and the impossibility of becoming woman in Pedro Almodóvar's 'The Skin I Live In'', Bulletin of Hispanic Studies, vol. 90, no. 7, pp. 819-834. https://doi.org/10.3828/bhs.2013.50

APA

Aldana Reyes, X. (2013). Skin deep: surgical horror and the impossibility of becoming woman in Pedro Almodóvar's 'The Skin I Live In'. Bulletin of Hispanic Studies, 90(7), 819-834. https://doi.org/10.3828/bhs.2013.50

Vancouver

Aldana Reyes X. Skin deep: surgical horror and the impossibility of becoming woman in Pedro Almodóvar's 'The Skin I Live In'. Bulletin of Hispanic Studies. 2013;90(7):819-834. doi: 10.3828/bhs.2013.50

Author

Aldana Reyes, Xavier. / Skin deep : surgical horror and the impossibility of becoming woman in Pedro Almodóvar's 'The Skin I Live In'. In: Bulletin of Hispanic Studies. 2013 ; Vol. 90, No. 7. pp. 819-834.

Bibtex

@article{05506c82a5044febb38a7a710ae9c2e3,
title = "Skin deep: surgical horror and the impossibility of becoming woman in Pedro Almod{\'o}var's 'The Skin I Live In'",
abstract = "Almod{\'o}var's films have long been concerned with on-screen representations of masculine tyranny and the gender-blurring quality of the of the transgender body. The Skin I Live In (2011) analyses these tensions by exploring the possibilities of a complete alteration of the male body by means of transgenesis. Taking its cues from canonical surgical horror like Franju's Les yeux sans visage (1960), Almod{\'o}var's film is both an indictment of the recent turn to clinical bodies in art and cinema, and a critique of what Susie Orbach has called {\textquoteleft}beauty terror{\textquoteright} (2009), or the horror inspired by the incapacity to have a perfect body. In this article I analyse these contextual coordinates through a productive dialogue with recent developments in Gender Studies, particularly transgender identities (Butler, Deleuze and Guattari, Salamon) and body modification (Orlan) and argue for the potential liberation of the sentient subject through dermography.",
author = "{Aldana Reyes}, Xavier",
year = "2013",
doi = "10.3828/bhs.2013.50",
language = "English",
volume = "90",
pages = "819--834",
journal = "Bulletin of Hispanic Studies",
issn = "1475-3839",
publisher = "Liverpool University Press",
number = "7",

}

RIS

TY - JOUR

T1 - Skin deep

T2 - surgical horror and the impossibility of becoming woman in Pedro Almodóvar's 'The Skin I Live In'

AU - Aldana Reyes, Xavier

PY - 2013

Y1 - 2013

N2 - Almodóvar's films have long been concerned with on-screen representations of masculine tyranny and the gender-blurring quality of the of the transgender body. The Skin I Live In (2011) analyses these tensions by exploring the possibilities of a complete alteration of the male body by means of transgenesis. Taking its cues from canonical surgical horror like Franju's Les yeux sans visage (1960), Almodóvar's film is both an indictment of the recent turn to clinical bodies in art and cinema, and a critique of what Susie Orbach has called ‘beauty terror’ (2009), or the horror inspired by the incapacity to have a perfect body. In this article I analyse these contextual coordinates through a productive dialogue with recent developments in Gender Studies, particularly transgender identities (Butler, Deleuze and Guattari, Salamon) and body modification (Orlan) and argue for the potential liberation of the sentient subject through dermography.

AB - Almodóvar's films have long been concerned with on-screen representations of masculine tyranny and the gender-blurring quality of the of the transgender body. The Skin I Live In (2011) analyses these tensions by exploring the possibilities of a complete alteration of the male body by means of transgenesis. Taking its cues from canonical surgical horror like Franju's Les yeux sans visage (1960), Almodóvar's film is both an indictment of the recent turn to clinical bodies in art and cinema, and a critique of what Susie Orbach has called ‘beauty terror’ (2009), or the horror inspired by the incapacity to have a perfect body. In this article I analyse these contextual coordinates through a productive dialogue with recent developments in Gender Studies, particularly transgender identities (Butler, Deleuze and Guattari, Salamon) and body modification (Orlan) and argue for the potential liberation of the sentient subject through dermography.

U2 - 10.3828/bhs.2013.50

DO - 10.3828/bhs.2013.50

M3 - Journal article

VL - 90

SP - 819

EP - 834

JO - Bulletin of Hispanic Studies

JF - Bulletin of Hispanic Studies

SN - 1475-3839

IS - 7

ER -