This paper explores Joss Whedon’s 2012 'meta-horror' The Cabin in the Woods in terms of conceptions of space. Via the theoretical approaches of Foucault and Kristeva, the film’s elevator sequence, and the multitude of monsters from the horror pantheon contained within, is used to conceptualise how the liminal spaces of the film function in explicating representations of horror and Whedon's 'signature intertextuality'.
|Number of pages||16|
|Publication status||Published - 5 Dec 2012|
|Event||After Buffy - University of London|
Duration: 5 Dec 2012 → …
|Period||5/12/12 → …|
- Whedon's great glass elevator
- Cabin in the Woods